Tag Archives: woods

not a painting, not a sculpture

Wednesday 7 December 2011

more pictures from the artist’s studio. it’s not a painting, not a sculpture…

wood, bark, abstract art on panel

it’s quite dark in the cave and things dry quite slowly…

wood bark, trees, abstract art on panel

the remains of the day (a previous day, with a knife and fork)…

wood, trees, bark, abstract art sculpture

surface…

wood, bark, textural abstract sculptural art

texture…

wood, trees, bark, abstract art sculptural

edge…

things are not perfect. i won’t waste time with too many focused words today, people like to look at the pictures…

nature, reclaim, change, transience, decay, disintegrate, rot, renewal, trees, garden, prune, cut, lop, fell, fall, crack, axe, sort, stack, season, slumber, lumber, weather, time, rain, cold, drizzling, damp, heat, sun, haze, light, shadows, dark, layers, edges, shifting, shapes, scrapes, textures, crackling, fire, warmth, habitat, shelter, wood, bark, out of the woods, into the cave, art, no landscapes, no people…

i have been working in the evenings, mostly (in the dark cave, away from images of reality). i have enjoyed working on these new pieces although perhaps enjoy is not the most appropriate word in this context. the process of making feels very focused, methodical, mindful, intimate, quiet, intense, as the work begins to take on subtleties of surface and there is some excitement in them coming to a considered conclusion.

i can’t recall a famous artist ever saying that they love what they do. they may speak of passion, determination, a sense of enquiry or curiosity, about scenes & situations, the issues & incidents of life. to simply love art implies unconditional acceptance that everything is perfect (or at least, it feels right), but making art is always a struggle of the will to make meaningful new things, to make them in a way that makes sense (and purpose). however, like the wabi sabi phrase, ‘nothing is ever finished’, making art also feels like a thoughtful, ongoing conversation, the memory of which lingers strongly in the mind long after the event, to be resumed again on another day…

see also the previous post, on making art again

in other news… i have acquired a new book to read, which you might have deciphered from a previous post. i have only read the first few pages, my ears and eyes are very tired…

on a small painting, out of the woods

Sunday 11 September 2011

this is a small abstract painting on watercolour paper, completed a couple of months back. it’s for the forthcoming ‘mini artworks prize draw’ in the artworks exhibition. the sombre, muted colours and vertical, layered striations in this small painting appear to be slightly influenced by my time sketching trees and bark in local woodlands.

small abstract painting, trees, bark, dark green, woods, woodland
[wildwood iv, 2011. 6″ x  6″, or 15cm x 15cm]

there is also a small copse (perhaps it is now a real, grown-up, maturing ‘wood’) bordering the far end of the garden. although i see this small piece of woodland everyday, i do not go into it to paint or draw as it is privately-owned land – perhaps just to rescue an errant roosting hen who once had a free two-night stay on the wilder side of the fence. on the third (could-be) night of freedom, a short time after dusk she was eventually located by taking a slow, spiralling inward path around the copse, sleepily plumped between the lower fork of branches of a tree. this twilight woodland escapade inevitably disturbed the dozing wildlife of pheasants, wood pigeons and so on – and i was reminded of these words:

‘we do not have to be long in the woods to experience the always rather anxious impression of going deeper and deeper into a limitless world.’

[gaston bachelard, the poetics of space]

this ‘limitless world’ seems to be a psychological or phenomenological one, a self-realised world mostly obscured by the modern day-to-day concerns of stability, security & safety. it is not often that we are allowed go there. it is in our human makeup to have fear & doubt (and respond to it) and the experience of being in the woods (or forests, mountains, seas or oceans) enables both a sense of place and the natural order of things in the world – and it is most deeply felt when one is alone. the naturalist david attenborough has often said that we should always be reminded that we are just one of many species co-habiting the earth.

bachelard made an interesting distinction between the perception of woods (or forests) and fields. in the landscape of fields we are a witness and perhaps an accomplice to the passage of time; we experience, share and create memories in the seasonal or manmade rhythms of it. in the dark depths of the forest bachelard perceives time as ‘before-me, before-us’, that is, it is behind us, in the past. the forest is ancient and the trees are the ancestral markers of time. in the woods, i sometimes sense that time has paused, it has ‘disconnected’ me from the brightly illuminated present, time idles in the shadows.

when i have studied the more philosophical or poetic appeal of woodland i have found it overgrown with many metaphors, myths, rituals, stories and legends, often wildly conflicting with the socio-economic changes of the times (fuel, timber, hunting, livestock and so forth). by the 11th century it has been estimated there was no more than 15 percent of natural woodland covering england and the remaining woods and forests developed into sites of rural industries. it was ‘not an imaginary utopia; it was a vigorous working society’, as the historian simon schama describes it, later saying that the ‘greenwood idyll was disappearing into house beams, dye vats, ship timbers’ – and with more bureaucratic management of woodland, a little corruption and misdemeanour along the way.

it seems, quite naturally so, for there to be an urgent need to re-establish or conserve our woodlands, with something of a reversion to the pre-industrial green wildwoods of folklore, but if the woods are not really a ‘greenwood idyll’ or the way into a more mysterious, esoteric other-world, then what, exactly…

and that deep softness of delicious hues
that overhead blends – softens – and subdues
the eye to extacy and fills the mind
with views and visions of enchanting kind

[wood pictures in summer, john clare]

i have been reading carus again, and he sums up the experience of the woods in a manner that i relate to:

tranquil reflection takes hold of us; we feel our unruly ambitions and aspirations held in check; we enter into the cycle of nature and transcend ourselves.

[carl gustav carus, 1824, from nine letters on landscape painting]

whether there is any direct relation between this german sentiment and previously referred-to eastern aesthetics i cannot be sure – perhaps it is a universal sentiment which is merely muted by the concerns of modernity.

trees (or nature, as it is perceived) will continue to be seen as a symbols of hope over adversity. however, i am conversely reminded of the idiom, we are not ‘out of the woods’ yet. for the artist, ever aware of the past, present and future, hopes that every picture paints its own story – and i have been drawn into the woods in a desire to escape routine – and, like the errant roosting hen, it is one of those times when one momentarily forgets to take the usual path home…

so many words to accompany such a small painting! over a thousand words and i should thank you for reading them.

however, i must conclude dear reader, by saying that someone somewhere will (soon) acquire the small ‘wildwood iv’ painting on paper shown above. tickets for the artworks prize draw are on sale at £2 each (and you can buy more than one, too). all the mini artworks are 6″ x 6″ and they are window-mounted for easy framing. the thirty mini artworks are currently on display in the artworks exhibition (which opened yesterday). i will also purchase a prize draw ticket to be in with a chance of winning one of the thirty original artworks illustrated below, but if i won my own painting then i should have to give it away again.

the ‘janette place’ artworks prize draw is named in recognition of one artworks artist, janette place, who initiated the first artworks prize draw (she died in 2005). the prize draw supports artworks ‘artists in schools’ programme, with a proportion of the money raised given to a local nominated charity. this year artworks have elected to support Suffolk Wildlife Trust’s Bradfield Green Oak project, an education centre built from green oak harvested from SWT’s own nature reserves as part of their conservation management programme.

the artworks prize draw takes place at 4pm on saturday 1st october 2011. you can read more about the mini artworks prize draw on the artworks blog.

i have ten works currently on show in the artworks exhibition at blackthorpe barn, rougham, suffolk, which runs from 10 september to 2 october 2011 (10am – 5pm, open daily). there is also the ‘ artworks shop’ with a changing display of small artworks for sale: paintings, original prints (no reproduction giclees!) and drawings, 3D works and an extensive range of artist cards. i have some of my papier mache bowls in the shop.

Artworks is a professional art group of thirty contemporary East Anglian artists. Each September we have an annual exhibition at Blackthorpe Barn in the heart of rural Suffolk.

some new works also on show at Reunion Gallery’s ‘Refresh’ tenth anniversary exhibition on now and until 22 Oct 2011