Homage No. 11 (to Uglow)
A builder’s plumb line hangs taught and straight, forward of Uglow’s marvellous painting Snake of 1976. Both line and figure have an appealing solidity and weight. The pose supposedly resembles Rodin’s statue of Eve. Uglow’s model became pregnant while posing; thus both Snake and Eve titles contain an allusion to original sin.
I am flattered to have been awarded first prize in The Buxton Spa Prize 2019, after entering two plein air paintings of Buxton (All Aboard - Buxton and, the winning painting, From the Slopes).
From the Slopes was also chosen as one of the five Buxton International Festival Choice paintings chosen by the Festival team.
The exhibition, featuring work by over 140 artists, can be seen at the Green Man Gallery, Buxton, and runs from 28 June to 31 July.
The Buxton Spa Prize 2019 is sponsored by The Trevor Osborne Charitable Trust, The University of Derby and Creative Heritage.
‘From the Scoop’ - mixed media
Large mixed media diptych using watercolour, acrylic and conté crayon.
Homages are indulgent.
They are flights of fancy.
Homages are links between experiences, objects, and admired paintings of the past: resulting from studying works in galleries, reading, or simply stumbling across items and ideas.
In some way they act as a reminder of the importance of meaning and metaphor can be in in art. It might not seem so, but Homages are also a testing ground for new colours and painterly experiments. They give me time to think, away from the urgency of the life room or the panic of plein air.
The first, Homage No.1 (to Durer), came about after seeing the wonderful Adam and Even (1507) at the Prado. Thoughts of expulsion, forbidden fruit and, later, a silenced Alessi bird whistle combined to form this first flight of fancy.
The fading light on Crosby beach provided a great backdrop to the Antony Gormley sculptures silhouetted against almost deserted sands. It was one of those days where the light implied warmth...whereas in reality it was so bitterly cold.
***** JOHN at the National Theatre is a poignant study into the highs and lows of a human condition. DV8 have created both a wonderful celebration of physical theatre and a stark social commentary.
The rotating stage draws one into the turmoil of John's existence; a world of family violence, crime and drugs from which there can seemingly be no escape. The glimpses we are given of John's father rapping both his sister and then the babysitter are enough to make one gasp in desperation. John's narration bombards the senses and the tenebrism of the production pulls one into a dark world that too many children experience daily. When the mother dies she is covered with newspaper, symbolic of a worthless and ephemeral life it seems. At one stage John says to the audience that he wishes for a 'normal life like you in the middle classes'...we all laugh nervously.
But there is also great humour in the production and the early themes of drugs and violence are swapped for obesity and sexuality. John does the laundry and lists the women he has had; hangers descend on string to fill the stage as a reminder of the transient nature of many human relationships.
The physicality of the production exemplifies what can be achieved with minimal props, a strong narrative and lashings of talent, which dance-trained Hannes Langolf has in spades. At one stage his movements simply defy gravity in an exemplary display of an actor's control of his own physical condition.
Yet despite what we have seen of John's life, the is hope. Exercise becomes a drug to combat obesity and the Open University is another means by which John can show his worth. There is a dark side to the time he spends in gay saunas but there is also humour in the dancing to 50s music, mentions of glory holes, STDs and the non-verbal conventions of sauna sex. Ultimately it is the journey by which John discovers his true sexuality and self.
When the gay narrative turned to discussing toilet habits and shitting, two members of the audience left in disgust. A middle class dirty protest perhaps...but also bloody rude I thought. I doubt John would like their normal lives.
After a last chance to experience the delights of the Grande Canal it was time to hop on the train and return to Florence. Ilria Borletti from the Italian Department of Culture is suggesting selling tickets to enter Venice in an attempt to keep the tourists and day-trippers away. How sad is that?
Yet, after a five year absence, seeing Florence was like returning to a old friend who beckoned one initially to the Piazza della Repubblica and then down to the scaffold-clad Ufizzi.
I think Venezia is a place to paint, whereas Firenze is where one goes to see paintings (and, of course, those wonderful sculptures of the quattro and cinquecento). Secretly, I also can't wait to get my teeth into another bestecca alla Fiorentina.
Yesterday the Accademia proved in many ways to be the jewel in the Venetian crown of museums. It can't rightly be compared with the Uffizi as a world class gallery but nevertheless there are splendid and varied examples of works by Bellini, Piombo, Georgio, Vechello, Tinteretto and especially Veronese. I was especially drawn to Tiepolo; one forgets the quality and the painterly technique.
Today however was a case of trying to fit too much in before a trip south to Florence. The Ca' Rezzonico is well worth seeing; not too over-powering in its content and some great seventeenth and eighteenth century works by the likes of Vecchia, Pellegrini and Ricci on the top floor. O yes....and certainly worth visiting for wonderful Venetian scenes by Guardi and Canaletto.
The Palazzo Ducale was incredible in its opulence (especially the ceilings), but is a case of Venetian bureaucracy gone mad. The council chamber, the chamber of the great council (some Tintorettos to die for here), the hall of the full council, the antechamber to the council, the senate chamber, the chamber of the council of tens and on and on and on...by the end one thinks take me to the armoury, run me through with a blade, and let me die in the prison below. Joking aside it is an interesting concept that laws are made, trials conducted, justice dispensed and incarcerations all happen in the same building.
And finally the Museo Correr has some great Flemish works in addition to the Venetian. But at this stage I would have preferred to be on the ground below, sampling the delights of Florain's caffe whilst bathing my weary feet in the partially flooded Piazza San Marco.
