Tag Archives: rost

on seeing red

Thursday 21 January 2010

Another little pluglet for my inclusion in the upcoming Elements: Man and the Environment exhibition at The Forum, Norwich… and all because of this…

I delivered my work today and was somewhat astounded to see my work super-sized on this billboard poster…

ELEMENTS - art exhibition, the forum, Norwich

Here is a little blurb on this new art exhibition, courtesy of the Forum

Elements is a new exhibition of contemporary art which explores the theme Man and the Environment. With contributions by sixty artists from across the East of England. From the use of found objects and natural materials, to work addressing environmental degradation and the fragility of our natural habitat, the exhibition is a fascinating insight into what the relationship between man and the environment means to these artists.

With over 850 unique works of art to choose from, the judges had a difficult task in selecting the final exhibition. Artists were allowed to submit work in any medium, provided it could be displayed in The Forum and as long as it tied in with the exhibition’s theme. The final decision was made by a prestigious panel composed of the celebrated local artist Colin Self, a pioneer of the 1960s Pop Art Movement; former V&A Director Dame Elizabeth Esteve-Coll and former Principal of Norwich School of Art and Design Professor Bruce W. Black, along with a representative of The Forum Trust.

The exhibition will feature a wide variety of artwork including sculptures, paintings and video media, all exploring the theme ‘Man and the Environment’. Each artist was given free reign to address the complex relationship between man and the natural world in any way they wished.

Elements: Man and the environment is at The Forum, Norwich Tuesday 26th January – Monday 15th February 2010.

Rost had his very first public engagement in London in late 2008, precisely at the time of the financial banking crash in the city of London… very much, perhaps too much in the red

[solo exhibition, Centrepoint Tower, London, November 2008}

and then a little show in July 2009…

[Harleston Gallery – Art Trail taster exhibition)

So, me (or is that myself?) and Rost spent some quiet time together today, before the big trip out to the city… well, you never know…

and here are a couple of pics of ‘edgescape : rost’, as previously seen in this journal entry.

rost painting - detail
[rost, mixed media on canvas, detail]

roat painting - detail
[rost, mixed media on canvas, detail]

Sometimes, it’s better to be red than dead (Rothkoicism)… Feeling the chill?? try my ‘Rothko Red‘ soup

all white and well red

Friday 15 January 2010

After my recent walks through the snow-white landscape, as documented in some of my sketchbook drawings and photographs, and the readymade art of paint colour charts, it caused me to recall a few artists who have conceptually explored the non-colour white. There is Malevich, Newman, Ryman, and even Rauschenberg, better known for his mixed media paintings or combines…

I once saw one of Rauschenberg’s white panel paintings in an exhibition on Black Mountain College, and felt sure that it had been touched-up or re-painted, infuriated as I was by its purist abstract minimalism – it both denied and transcended the object of painting.

Kazimir Malevich, Suprematist Composition: White on White 1918

Barnett Newman, The Voice 1950

Robert Ryman, No Title Required 2006

The artist David Batchelor (who I know more for his assemblage colour works, and he also wrote an interesting book on colour, Chromophobia) has been documenting in photographs the white blanks of papered-over billboards and erased signage in the streets of London since 1997 – found monochomes, which I find most interesting in regard to my own humble found paintings (which perhaps I should now categorise by colour…).

He calls this ongoing series of photographs Monochromes of Modern Life, a reference to Baudelaire’s  ‘The Painter of Modern Life’. Their central void as he calls them, brings into sharp view the multi-layered patina of history surrounding them, and of the transient nature of modern life in the city, both of the buildings and their inhabitants.

David Batchelor, Monochrome #17

As painters, we can have an ambivalence with white; the absence of colour is proof of our non-doing or un-doing, of erasure or covering up. Nearly all of my paintings are constructed first in monochrome, working layers of texture without any use of colour, with colour applied later in thin, scrubby layers, echoing the manner of the slow deposits and gradual erosion of weathering and decay.

It is a very printmakerly methodology too; as a printmaker you plan, prepare and plot out the topography, creating a map or receptacle for colour, before it actually comes into physical existence in the final artwork. Back in 2004, when I first started building the large panels for what were to become my ‘edgescape’ paintings I documented them in the very first stages and called these images my lost paintings. Here is one of them (100cm square), from July of that year.

lost painting, 2004

And here, seen in January 2009, the beginnings of my farmscapes in the studio…

From white to red; a little pluglet for my inclusion in the upcoming Elements: Man and the Environment art exhibition, 26 January to 15 February 2010, at the Forum, Norwich. I was rather surprised to see, when receiving some information about the exhibition, that they have used the image of my painting on the exhibition preview invite…

and then I found my work again on the website…


red textured abstract painting
Edgescape : Rost mixed media on canvas, 95cm x 95cm

On some days I think it is a violent painting, full of fury and rage, restless, volcanic, caustic; on other days it glows with a passion, a visual feast of ripened fruit and dark wine, a spirit for life, hedonistic and undefeatable…

(read more about this red abstract painting…)

And lastly, as a footnote, it occured to me that as an artist, if one were to go down a purely conceptual route there is the high possibility that someone has thought of the idea before, as ideas are often generated by sociological or cultural influences; whereas when pursuing a more process-oriented route, then in the making of art, whether highly-crafted or poorly rendered, it will always be a one-of-a-kind.

views from the valley

Tuesday 22 September 2009

coming up… an autumn art exhibition with seven other artists in the delightful coastal resort town of Southwold.. i am exhibiting this painting… a rustic red theme.

painting in exhibition in southwold october 2009
[rost – textural mixed media painting on canvas, 95cm x 95cm]

this art exhibition opens 24 September 2009 and runs to 22 October 2009 at the Mark Elliott Showroom, Victoria Street, Southwold, Suffolk, IP18 6JW (click postcode for the google map; it’s in the old adnams brewery shop, behind the famous adnams crown hotel)… this is a decidedly commercial setting for an art exhibition as mark elliot sells traditional bespoke handmade and designed furniture and sofas… i like the timeless design of the felbrig sofa in a classic brown leather.

aside from myself, jazz green, the other artists in this southwold art exhibition are… Noelle Francis, Val Lindsell, Diana McKenna, David Rock, Ian Scott, Tim Summerson and Dinny Turner…