The shock of not being able to produce anything worthwhile before I left early from what was meant to be my painting week with Michael Horn in early June has worked in the sense that I’ve painted a lot over the three months since then. That’s quantity; quality is something else so I’ll put up some works with little comment and let the viewer judge.
Actually, this is not new this year, but it is newly sold. In ink on paper, it is a small, minimalist abstract called ‘The Way’ in a conscious take on Michael Horn’s several ‘Weavers’ Way’ paintings.
The sale follows the sale of two others recently. For someone who is not particularly interested in sales and certainly does not push his products, this is alarming – but nice!
A study using spray paint on board exploring the contrary ideas of randomness and linearity/rectalinearity. The effect is largely accidental but I do like blues!
I cannot claim this next image as my painting but I found it – on a sandy beach on Lindisfarne, an image of a deceased sea-bird sea-sculpted from a piece of wood by the ceaseless sea.
A reader is not convinced by my ‘sea-bird’ claim of thise bit of drift-wood and asks if I have any more convincing photographs. Well, try these:
Maybe the one on the left is a bit more convincing – I think it very goose-oid.
I have been working away on this next painting for at least three months during which it has been modified several times, not so much in its composition as in its colours. The basic structure is collage; only the dark green oblong, the black disc and the grey background are painted directly on to the board.
Essentially the design derives from the idea of megalithic standing stones as seen at Avebury and other stone circles, and a trilithon of two uprights and a lintel as seen in the third millennium BC at Stonehenge. The green represents much-used landscape; the black disc represents the sun or moon – and my present gloom about the state of my country and the world. The whole is called ‘Black Winter Solstice’.