Artist’s statement: We 3, 2 Acres and a Donkey

Painting is like being on a see-saw except there is no one on the other side. You have to do that awkward, near-impossible thing of running from one end to the other in between the up-downs and somehow still enjoy the ride!

And the two sides – what are they? Well, actually it is a multi-dimensional see-saw, if you can imagine one, so many factors are there to balance. There are the universal twins that come with making images – complex-simple; loose-tight; flat-volumetric and a myriad more that constitute the language of art. In addition, each artist has his or her own particular and often peculiar concerns where they find themselves up or down or half way up in cycles of discovery and rediscovery over the years.

Here is the story of my ride – I prefer it to using that overused word ‘journey’. I have crept slowly via my last two exhibitions from the safe shallows of children’s book illustration (a genre in which I spent much of my working life) to return to my first love, fine art painting. And here, finally, there has been a radical increase of scale. Overhearing a chance comment at the opening of NOOSPHERIC NIGHTS about how small the works were in real life, was all the challenge I needed. Without really seeing it, I had been working in that cramped small scale of the printed page. Time to break free.

In the making, there were those  ‘aha’ moments where I  came to realise that what initially looked  brand new was in fact very old ideas in a new form. I am re-meeting past friends, archetypes that have haunted me from my youth: vertical ladders and horizontal streams of strewn stuff. Now they emerge clothed with newish content – the eclectic objects I have been painting for a while now. Even the limited colour range in 2 ACRES AND A DONKEY has its antecedent in a small lost student work which reflected my attraction to the colour of American trash bags of the time.

My two great loves, Philip Guston and Giorgio Morandi, are thick-paint artists, yet I am increasingly accepting that I am more at home with thin paint. Here and there I can slap it on but my start in this late career spurt of art making, was in water colour and ink. Thin washes of ink and acrylic applied with a mop or a three-haired artist’s brush and everything in between is where I am at present. Slowly I venture into adding oil paint to the mix, impregnating my cloth with rabbit-skin glue to prevent the oil rotting the support.

I rock between euphoria and self-doubt, light and dark, thick and thin, refined and brutal, words and images, leading the painting and allowing it to lead me. An important aspect of my work is unifying drawing and painting. This is allied to the greatest conundrum facing a painter in the process of riding his or her painting home – when is the work finished? The paintings exhibited here are deliberately on the uncooked side – pink lamb, pasta al dente. They are a reaction to a memory I carry of art school where under the tutelage of our lecturers, fresh, spontaneous underpainting was covered in great slabs of coloured-in paint, inevitably killing off any love I had for the work in the process. I remember once tossing a still-life out of the 2nd floor studio window at Wits in a fit of disgust.

Does it sound like self-justification to link the lack of finish in these works to the fact that they are ultimately ideas –rather tenuous ideas at that – and not renditions of the real world? WE1, WE11 AND WE111 are self-portraits. They arise as a response to the gender lobbyists who would like to change the pronouns we use for them from ‘he’ or ‘she’ to the non-binary ’they’ or ‘we’. My riposte is that everybody is a ‘we’ rather than a ‘me’. 2 ACRES AND A DONKEY is also a type of self-portrait. It is a portrayal of the process of unimpeded thinking /dreaming and the dross and occasional insight that comes to us when we are in this flowing state.

Stream of consciousness? Perhaps. The 7 meters can translate into 2 acres but where is the donkey?

Where indeed.

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Invitation to my next exhibition

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Exhibition in the new year!

WE 3, 2 ACRES AND A DONKEY

Coming soon…………watch this space

Here’s one of the images WE 111 ( 1.5 meters wide by 2 meters high)

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One L and two Ps

We are on our way to the Philippines!

Actually 3 Ps!

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Harvest Tower

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Can’t wait for it to fill out with bountiful crunch

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On the washline

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Hanging up to view, ’2 Acres and a Donkey’, a painting/drawing 5 meters long by 1 and a half high. Ink, acrylic, rabbit skin glue and oils on cloth.

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insights/conversations growing out of drawing

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Adding colour to another depressing but strangely satisfyingly shaped haul of washed-up trash. Why I like these battered shapes…something lodging in the primitive brain, I suspect. Perhaps a kind of gestalt. I move closer and closer to the two greats in my pantheon: Morandi and Guston. I have come to them from the side like a crab. A frontal appropriation has always failed by sending me into a withering and drying up. How can I possibly compare the muddy puddle on my paper before me with their masterpieces? Now in the beach trash on which I concentrate they are two specks, blurs in either corner of my eye, right and left. I could describe them as ghostly attendants but best to ignore them and let the wordless drawing process itself usher me in. I read somewhere this weekend that the self can only be found in those moments when you pay attention to this rather than that i.e. in the choice one makes among the myriad sensations flooding the brain at any single moment. I think drawing/ painting/ writing helps to solidify self because one is in a trance of choosing and choosing. That is why it feels so good (most of the time).

Conversation on Facebook where I posted this text and an image or two:

Deborah James says:
Beautiful! yes you introduced me to, and taught me to like, both those artists…

I answered:
And you gave me Piero della Francesca, who, by the way, was Guston’s number one.

Lynne Lomofsky says:
Beautifully said and I think I have to agree!love the bits of colour that is definitely the magical process the artist experiences that the untrained viewer can’t see

I said:
Remember our conversations re: self expression…the unrealistic and simple notion that people persist in having, that if you, for example, paint with dark colours you are sad, or that van Gogh was expressing his sadness/madness in his ‘tortured’ brush strokes etc? I think this might be a way to counter that pop psychology mindset, which ask any practicing artist, is hooey: Self expression, yes. The artist is finding and consolidating themselves – the self – by making choices again and again in the process of making. Emotion is definitely not the main player,. When the result – the end product- awakens emotions in the viewer, it is almost incidental to the artist’s intention which is to negotiate the myriad impulses open to him/her and choose the way through. It has not been as a result of the outpouring of the artist’s emotions directly onto the canvas. Let’s banish that idea once and for all.

Lynne responded:
Yes! Yes! Yes! This needs to be published on other forums other than facebook but facebook is a good start. You should open this topic on your blog

Hence this post

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leafing

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A matter of focus…shadows throw doubt on the matter. These are plume poppies. Their wildly serrated leaf margins, a giddy dance for the eye, contrast with their calm, green-grey openness, like palms being held up for us to read.

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Hopeful Soapful

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Castile soap ( 100% olive oil soap ) made by us, curing for the required 6 weeks,  6 months, whatever. It was a bit of a rocky process that went from failure to hope to failure to hope a few times in the making, but looking good now…

Already making suds!

 

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Practicing scales before the big day

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