CIA Headquarters, Langley, 1955. A warm, damp Autumn evening; leaves rush and whisper, shaking off their rain drops as the twilight slowly fades yet lingers long enough to kiss the last puddles of water a gentle good night.
On the fourth floor we see a stark light burning out incandescently from a solitary window, opened slightly to let in the cooling Virginia air. The whole building below in almost complete darkness save the foyer and janitor’s cupboard; its occupants have long since left for home or the few bars that welcome the emotionally troubled or down at heel with equal benevolence.
Inside this lit room sit 3 men around a modest table; a polished walnut affair with a pleasing solidity yet fine slender legs. Scattered out over the table top are an array of photographs, black and white, images of what to our eyes now would look like familiar abstract paintings, the kind of thing pastiched in a thousand high schools during an afternoon Art class... Read More
I recently saw the Caro show of "Book Sculptures" at Annely Juda in London. I enjoyed it - it’s like having a really nice meal in a fancy restaurant - everything is put together so well (and tastefully) with such great ingredients. Once you get to a level of skill, experience or competence the safer route is to produce more and more of it. Read More
Either you get Rigden or you don't. If you don't , you need to think again about your take on Art, because Geoff was bang on the line, the point at which Art gets made. His work bears this out - it's watertight , never leaks. Read More
....A painter moves from a mode of philosopher to sportsman, from cerebral to physical. I never plan or even try to predict the outcome of a painting or even an instance of paint application. Instead I commit with intensity to each instance and believe it to the point that it should not only take care of itself but hopefully set up a momentum which will be maintained with every subsequent instance. This approach reassures me that I always gave it my best shot. Read More
.....“I saw those recently in London for the first time in the flesh” I said. “In the flesh,” he reiterated my phrase; “correct terminology, good for you young man." Read More
You have to work really hard to get to the “hum” of art, or you can chose not to try, but you’ll end up with silence and will have to rely on providing the noise after the fact. Read More
I have been making large sized ink drawings over the past few months. Although I have several on smaller sizes, it is when I am working on 8ft x5ft that I feel I am getting the maximum out of the physicality of the drawing. Read More
To get a difficult or ambitious job done , work at the supporting mechanisms first Read More
I have long considered the word drawing to mean ‘making’ in the fullest sense of the word. Read More
I want to believe that abstract painting can be as great as figuration, but this is a battle that must be fought on abstract art’s terms and not figuration’s. Read More
I would venture that much of the ambition in the Cut-Outs is to find an answer to Pollock and other large American mural-scaled works of the late 40s and early 50s. He was acutely aware of them, through his son Pierre, and also discussed them with Picasso (who was Eurocentric and ambivalent to them). Read More
The two artists are represented by paintings and watercolours. In fact, water is one clear link between them: the way it carries colour, extending its reach into the corners, lapping against the edges, the bleeding and flowing of pigmented washes, suggestive of form or simply evocative of place as felt experience. It seems entirely appropriate therefore, that the show be held looking out on the spectacular backdrop of the North Sea on its way to meet with the English Channel. The gallery has light flooding in to its spaces and that mesmeric tidal flow framed by massive windows - nature's own watercolour. Read More
Words are getting lighter and their impact more... or rather, simply..less. Read More
It takes time and considerable efforts and through this slog, an unforeseen acknowledgement emerges - you can point at it, but will (should) struggle to articulate it. It's a realisation rather than a reality - always in flux. Read More