Jazz Green : Artist Journal

Posts tagged ‘edgescapes’

i was going to just ‘blog’ about the NCA 2010 (Norfolk Contemporary Art) exhibition today; i didn’t actually make it to the PV, sadly, but i am sure it was very good…

i have a small mention in the catalogue’s main introduction to the exhibition (and four small works in the show)… it has caused a little contemplation on the matter of the origins of contemporary art

‘The example of the significant developments in attitudes to painting that occurred in America in the fifties and sixties of the last century – abstract expressionism, colour field painting and minimalism – are represented here in the works of Jazz Green, Geoffrey Lefever, Zheni Warner and Rhona Fleming. The preoccupations of those times, the flatness of the canvas and its nature as an object are clearly represented here.’

the flatness of canvas (the surface) and ‘its nature as an object’ in itself is indeed a preoccupation of mine – but thoughts drifted through my mind like the tangled balls of tumbleweed rolling across the dusty prairies, reminding oneself that no artist is entirely resistant to the winds of such international influences… america, as a second home to european artists such as duchamp, mondrian and albers gave both sanctuary and freedom to artists, in the making of their art, as process-driven ideas and concepts developed, quite separate to any desire or need for a pictorial narrative… it is, perhaps, due to the pioneeering and independent spirit of the age, a radical welfare & arts program, the art was unburdened by (and physically detached from) the historical trajectory of european art. american artists have been colourfully swooshing around the paint ever since, while in britain things were a little more muted…  well, there was the small matter of a war (and its subsequent debts) to deal with (i simplify, of course)…

someone said to me recently that you need to look at a lot of art and then forget about it, before you can make your own… one hopes that any traces of influence will be subtly distilled into a new form…

these four small works are currently in the NCA10 exhibition… all are 13 x 13 x 3.5cm…


fjord 2010


havana 2010


sushi 2010

and…


tuscany 2010

NCA 2010 is open daily, 1 to 21 July 2010. NCA is a curated, contemporary art exhibition, with sixty-five works selected by the arts writer Ian Collins and the artist Derek Morris. The exhibition includes painting, photography, printmaking, ceramics and mixed media works. A full-colour catalogue is available to accompany the exhibition and all artworks are for sale.

despite this current exhibition, the urgent matter of ‘work’ preoccupies my thoughts most days… over the weekend i penned (or designed, but it still needs a ‘little’ work) a leaflet to promote my good self as a freelance art tutor – this might be another string for the bow that has yet to pair with its corresponding arrow… and then there are my plans or development of ideas for more decorative objects in 3D… this multi-disciplinary approach, i believe, is critical to any financial stability… it is not good to be left hanging in the balance, waiting for a call…

meanwhile… i received, via email, some photographs of the setting up of the next exhibition, textures, traces and elements at beyond the image gallery – on what was probably the hottest day of the summer, thus far… angie, the gallery manager, was instrumental in the ‘hang’; immensely giving of her time and a very calming influence on us all…


critical discussions going on…


talking labels and other matters pertaining to the final touches of the exhibition…

here is a quick snapshot i took just before we left – i really respond to carol’s layered porcelain and slate pieces… i already have one of carol’s smoke-fired pots…

here are hazel’s paintings in the exhibition. to understand some of hazel’s paintings you really do have to see the incredible images that she draws out from the patterns seen in the most humble-looking of pebbles. she has an inspiring, spacious studio too, full of her coastal, beach finds..


[hazel bignell - paintings]

and now for something [not so] completely different; a more formal introduction to the textures, traces & elements exhibition… a proper press release, no less…

TEXTURES, TRACES & ELEMENTS at Beyond the Image Gallery – 2nd July to 1st August 2010.

Textures, Traces & Elements is a contemporary art exhibition of mixed media paintings, collagraph prints, ceramics & textiles by three Suffolk-based artists: Hazel Bignell, Jazz Green & Carol Pask. These three artists respond boldly and uniquely in both process and media to the East Anglian landscape.

Hazel Bignell uses collage, painting and mixed media on canvas. Inspired by time spent at the coast, her quietly symbolic and textural artworks reveal hidden narratives found in the patterned strata of unusual pebbles, eroded cliffs, the ebb and flow of the water’s edge and evening shadows.

Jazz Green focuses on the overlooked details of the rural landscape, the ephemeral traces of weathering and decay on neglected outbuildings, the myriad colours and textures of rust, mould and lichen, which are subtly distilled into contemplative, zen-like, minimalist abstract works on canvas and paper.

Carol Pask is a ceramicist, known for making vessels with delicate, smoke-fired glazes or the raw earthiness of the raku process, which naturally complement her more recent sculptural and textile pieces. Her work is also inspired by the environment, with an emphasis on organic structures and naturally-derived colours.

When seen together, the work of these three Suffolk artists present an engaging and contemporary perspective on the influence of the East Anglian landscape.

Beyond the Image Gallery is a contemporary, artist-run exhibition space located within the beautiful setting of the Thornham Estate, conveniently situated just off the A140, midway between Ipswich and Norwich. The Thornham Estate also includes twelve miles of waymarked footpaths through naturalised meadow and woodland, known as the Thornham Walks.  Together with designated picnic areas, a traditional walled garden, an information centre and a cafe, this makes a visit to the Thornham Estate a very enjoyable and relaxing day out for all the family.

Textures, Traces & Elements at Beyond the Image Gallery is open Friday to Sunday, 11am-4pm, from the 2nd July to 1st August 2010.

Click here to view the gallery location on Google maps.

meanwhile, the promotional mill grinds on – i am very much looking forward to showing some new work at the 11th annual ‘Artworks’ exhibition at blackthorpe in september (Artworks is an established group of thirty professional East Anglian visual artists), with the environment and mankind’s impact on it as the broad theme of the exhibition… so, no pressure then…

stop press: it looks like i will have three large edgescape canvases in another exhibition, entitled Rebirth at Gallery Art 1821 in the fine city of Norwich,  opening 29 July – 8 September 2010.

read more about the future exhibition Rebirth

I finished and framed the painting Fenn earlier this week… it will be exhibited in the HWAT showcase exhibition for the duration of April 2010…


[Edgescape: fenn, mixed media on canvas, 90cm x 90xm, 2008-2010]

I added a few more glazes over the lower section of the canvas to get a more of a dappled, yellowy-green, and the top section is a purplish-reddish dark brown.. I got a bit obssessed with the degree of merging – which explains edgescapes as the series title for these large works…

Fenn as a title (archaic spelling), I hope is quite self-explanatory, alluding to a marshy, often flooded landscape – which, prior to the 17th century when much of the low-lying land was irrigated for agriculture, is what parts of the East Anglian landscape would have been like. This painting (fenn) is more of a sensory response than a depiction; partly landscape in an implied horizon line, but also a surface magnified… I can’t do these large paintings quickly (I started this one in September 2008, about two weeks before it was needed for an exhibition) – it seems vital for them to mature over time…

Note to self: the poet John Clare lived in (or perhaps just wandered through) the deepest part of the fens… a landscape that stirs up the metaphysical mind…

For a morning respite from all things art, I pottered about in the garden and soon spied this little fellow, a blackbird in the willow tree… a composition most pleasingly serendipitous in its contrast of colours (echoing fenn) – and the wriggling worm in the blackbird’s beak is further echoed in the curls of the willow branch… he was waiting to make a safe return to the nest…

The male blackbird was taking it in turns with his female mate to gather worms for their hungry offspring. They had decided to make their nest in a large, tangled pile of recently pruned clematis and so I was unable to get on with clearing the area – so I temporarily sectioned it off with some chicken wire fencing…

I also spent a lovely afternoon out at the coast with an artist friend – both of us are avid beachcombers and find lots of creative inspiration there. I found all of these purple-hued pebbles, which I placed on an algae-covered piece of wood to photograph my hoard, which glowed more pink in the late afternoon sun…

I also liked the contrasting textures in this dense, spikey thicket of red-brown bushes with the soft beige grasses – serving a purpose in reducing the impact of wind erosion on this exposed part of the coast…

and these trees, in a nearby wood, looked almost petrifed

I feel quite lucky to be less than thirty minutes from this stretch of the coast…

another journey into colour

February 8th, 2010

It is very curious where this virtual journey into colour is leading, as every made-up colour combination finds its corresponding place on earth…


Tsavo, mixed media collagraph on paper and canvas


Tsavo East National Park, Kenya  (image courtesy of flickr)

The blue sky and scorched red earth give this vista some aesthetic appeal, but without fauna it looks to be a barren wilderness. I can imagine the occasional roaming herd of elephants emerging from a clearing in the trees, or seeing buffalo drinking at a water hole, but there will also be the parched bones of the less fortunate ones hidden in the scrub, savaged by the lions. This image gives no indication of a highway much travelled by the safari-hungry tourists, although a quick search on youtube returns more than enough shaky videos, with the resident wildlife often appearing less than amused. This is still a hunter’s landscape, of man and beast.


[Tsavo, detail]

I am not sure how long I will pursue this idea, mapping colours to a location, but at the present moment it has its rewards, with the added gratification of getting one’s work out there soon after it is made. These works are very small at 5″ x 5″, and are, in effect little objects (but not objet trouvé), faux tablet mementos to places that I have never visited. The larger canvases (the edgescapes) are distilled vistas of places I have been to, but to me they resonate with more distant and imagined landscapes scarred and ravaged by the elements. The farmscapes have their obvious mechanical, minimalist geometry, but on some days I question their formality, they seem too detached from their source. Making larger works also takes up all available space, so the work gets restricted by its surroundings and develops much more slowly. I guess that all artists have to deal with those if only moments – of a lack of space and resources. You can adapt your ideas or your work, but there is always a doubt inherent in that decision, in that it is a compromise, not a solution. That perpetual lack of space issue forces the change for now…