He can't remember his own name

Ok, another painting with the title stolen from a song. In case you haven't worked it out: "My name is Michael Caine". It's such a shame he's such a Tory, as I love him as an actor. But there you go. Anyway, the line seemed to suit this painting, which is more abstract symbolism, more thoughts about identity. The other possibility of a title was "What's your name?"  with the obvious answer not being "Virginia Plain".

He can't remember his own name

And a message for Gatsby if he looks at this: I think it looks better with the paint on top!

And finally - here's the tattoo, finally done today:

Some new paintings

Yes I did say "some". I keep forgetting to have my camera with my at the atelier, so it all happens at once. First are three little ones that I've called Phidelity 1,2, and 3:

Phidelity 1

Phidelity 2

Phidelity 3

The first two are square 30x30cm, the third a mere 24x18cm. I wanted to try producing small abstracts, using the kind oif colours and symbolism I have been using recently. It's quite hard to make small canvases not look overworked.

Not too sure about these - especially no 3. Still thinking about them. They look better on the wall.

Strand

I'm more pleased with these two - called "Strand" and "Suspicious", They are slightly larger - 55x33cm and 46x55cm respectively.

Suspicious

Finally a bigger painting that I am definitely happy about. "Blue Velvet" - 81x116cm. For those that are interested in these things that's a 50L on its side. French sizing. I'm finding new things in this painting as i look at it - which i think is a good thing (!)

Blue Velvet

In other news I've sold a big painting today for a decent amount of money. So to celebrate I've booked myself in on Thursday to get the tattoo done:

Perceptions

..and this is where I left off. So what is this about?

My work explores the relationship between Critical theory and copycat violence.

With influences as diverse as Caravaggio and John Lennon, new combinations are created from both explicit and implicit textures.

Ever since I was a child I have been fascinated by the unrelenting divergence of the moment. What starts out as contemplation soon becomes debased into a cacophony of lust, leaving only a sense of unreality and the possibility of a new synthesis.

As intermittent phenomena become clarified through diligent and critical practice, the viewer is left with an impression of the possibilities of our existence.

Hmmm.

Artist's Statement

Generally I hate "Artist's Statements". They are some of the most pretentious drivel ever written, each one a potential "Pseud's corner" winner. Some of this is artists' fault themselves, because their communication skills are really limited to the stuff they paint, sculpt or whatever and they shouldn't really be allowed near a computer, but quite a lot it is the fault of curators and art critics (watch me here cut off my nose to spite my face). There are galleries and curators who expect artists to write pretentious drivel, and are disappointed when they don't. Top of the league in this category goes to the french website who last year rejected my submission on the grounds that my artist's statement wasn't pretentious enough. "That's no good" said the webmaster, contemptuously, "that just describes WHAT and HOW you paint, NOT what it MEANS". I really wanted to quote Charlie Brown then: "It's a horsie".


I can tell you what I think my paintings are about in that I am interested in certain things that influence the process - ideas, colours, music, emotions, processes - but I am also aware that some things are accidents, some things aren't conscious, and that people looking at paintings sometimes see things that weren't intended. That's all ok. Actually, that's great!


So for anyone looking for the best resource for writing an artists statement, I refer you to the wonderful artybollocks.com . With just one click I created the following masterpiece:




"My work explores the relationship between Bauhausian sensibilities and UFO sightings.

With influences as diverse as Kafka and early Jackson Pollock, new combinations are created from both constructed and discovered textures.

Ever since I was a teenager I have been fascinated by the theoretical limits of the zeitgeist. What starts out as vision soon becomes debased into a hegemony of temptation, leaving only a sense of decadence and the chance of a new beginning.

As spatial replicas become frozen through studious and diverse practice, the viewer is left with an insight into the darkness of our future."

I love it.

Crossroads 2

Another painting photographed, edited and uploaded from my iPod. Mainly because my camera's batteries need recharging. The original painting I did called Crossroads is half an inch under this one. By the way the title has nothing to do with the old soap opera.

Crossroads 2

Update... I've painted over it!

Personality Crisis (#100) - Last Hurrah!!

So, to the 100th blog entry on this site: two new paintings - Personality #1 and Personality#2. Same size - 56x45cm. In fact these were a different pair of paintings of Les Matelles that didn't work, so I have painted over them. There is a third, but that didn't work either, so it will be painted over too. This is my new way forward - painting over old things I don't want to keep. I've photographed everything anyway, and I have begun to realise that if there are paintings hanging around my studio that I don't like, the best thing to do is paint over them. A few more on the agenda. It saves money on canvas too!

And why a last Hurrah? Well I'm going to keep my atelier, but the gallery will close in two weeks time and be reborn as Kitty's Tack Shop . A new family venture. So while I'm painting in the back the front end will be selling horsey stuff.

But for the last/next two weeks come and visit and see an exhibition at Matelles-Art of my more recent abstract work. From October it'll all be around the back!

Here's a novelty

Posting on the blog from my iPhone. Not sure about this picture- it's a bit too busy and I think therefore needs to be painted over. It's only little - about 30x20cm. Edited on the phone too!

New Provence Alp Paintings and an abstract exhibition in London

This is going to be a big post. First, some recent work. Two paintings I have been working on for a little while. The idea was to take the way I have been working on abstracts broadly related to the figure and apply it to landscapes. I started these about 3 weeks ago, but finished them only this week after returning from our holiday in the Provence Alps. I won't go on about the holiday, suffice to say the place was fantastic in so many ways, and I may be doing some art holidays there in the as yet unspecified future. More on that as it develops. But it was a beautiful place with inspiring views: I love mountains, and this was perfect - just on the first lower edges of the alps, in the midst of small mountains (up to about 1800 metres) with in the distance giant peaks appearing as the day developed. The colours were amazing, and ever-changing as the light changed. Just beautiful. Well here are the paintings - a sort of vertical diptych I guess, so I'll show them that way. Both are 1.5 metres by 0.5 of a metre:

These aren't the best of photos I have taken of my work, given that they are done with my iPhone, and could be a bit sharper - but I think they are clear enough.

Meanwhile I am taking part in an exhibition thing in London in October - it's the second Parallax Art Fair, organised by Barlow Fine Drawings. Not sure what will come of it but for more information see the website here. And below is an invitation. Actually if you want to go to one of the private views you have to get put on the invite list, To do this you have to email privateviews@barlowfinedrawings.com. My work of course appears in the first 14-16 October section for abstract artists. Hope to see you there!