My painting XXVI

As at 30th May '08

My 71st birthday, and a couple of days off spent with F in Florence in the splendid apartment of generous friends. Sitting here on their terrace I can see among the famous silhouettes the top of the building that I drew sixty years ago when, propped up in a hospital bed, I copied an illustration, itself no doubt fairly crude, of Giotto’s tower from a book. I still remember the excitement of having a fine sheet of white paper on which, with a mapping pen and sticky Indian ink, I followed the fascinating lines of the decorative façade. I suspect it was the first thing that I had made that I thought of as art… a special piece of paper with something special on it.

It was a one day wonder in the ward and considered by nurses and fellow patients to be amazingly (I remember the word most often used) ‘lifelike’.

I’d no doubt blush or smile to see it now. But what would my eleven year old self think were he to open his future studio door and see the painting that he is doing in 2008? He might well be amazed, even dismayed, though 'lifelike' would be the last word he would reach for.

Lifelike, however, is a term that has gained in amplitude. Our image bank now contains the galactic choreography revealed by the Hubble telescope and the organic dances that, in miniature parallel, are presented by electron miscroscopy.

We begin to apprehend a unity in the cosmos at the visual level. Open any scientific journal and it is hard to tell without reference whether any illustration is of an infinitely large or infinitely small event; especially since they are made cousins by the current taste for schematic colour coding.

To be armed with this larger license as to what is lifelike becomes as frightening as it is exhilarating. Even the panels supporting my picture teem with inorganic activity as, in all directions and without end, subatomic particles ping and caper about through its inert-seeming fabric. On top of this my picture is a battleground in which delicate manoeuvres in suspended combat combine to describe a hesitant moment of a situation in flux.

Photo. D.S.

Looking again across to Giotto’s tower I register that it is itself lifelike. Its austere intricacy, perfection of marble interval and balanced dialogue of dark and light, mirror platonically something of the structure of the world.

Having called these notes (as republished in Turps magazine) The Biography of a Painting, I have implied yet another version of lifelikeness. The history of the picture’s making is the story of its life, its moving through time to a close. Since I am edging on to the final panels it more and more resembles my own life which has a great deal more past than future. Unlike human existence however it invites revision and, at the end of the last panel (having closed off in one sense the future) I can go one better than nature and reopen the past.

My painting (XXV) & The Magic Flute

As at 9th May '08

Over the next few weeks progress on my painting will slow down as more studio time is taken up with The Magic Flute, now only six weeks from opening night.

The long all-licensed time of fantasy is over for director Simon Callow and his designer when they could hoot and bray and throw their toys out of the playpen. Now the Real People take over, the technical team armed with hammer and needle, tape measure and plan. Impressionistic schemes must be turned into reliable structures and scribbled drawings develop into feasible costumes.

Sketches like these have to be carpentered and painted to make practical doors in a firm wall.

First study for back wall with nine doors, Act 1

First study for back wall with nine doors, Act 2

Making proper working drawings which answer the questions, how thick, how high and what precise colour, is my current task.

Somehow panic strikes every production as if it were a necessary ingredient to theatre. Keeping up with Simon's quicksilver shifts of notion and scheme has provided the excitement so far. Now all must be transformed into low budget reality.

So it must have been with the mercurial Schikaneder, the performer, librettist, director and impresario whose original show this was. Who else would, within the first five minutes, have a Japanese prince attacked by a snake and rescued by sinister veiled ladies, then left to exchange existentialist repartee along the lines of Waiting for Godot with a man very like a bird.

Sarastro's emblem

Some details can be fun to do. Here is (for the Parsifal aspect of this multi-faceted piece) Sarastro's emblem of office, a freehand drawing to be enlarged and printed on cloth. As a perk of the job I will get the wardrobe dept to produce a T-shirt similarly emblazoned to add gravity, power (and maybe some magic) to my ping pong.

Dolls

Here with the two boys and their schismatic teddy bears, Mahomet and Ali, is the companion card, My golliwogg’s called Jesus. The double ‘g’ at the end of the word is the original spelling in the illustrated stories of Florence Kate Upton published just before the end of the nineteenth century. Bears existed as dolls at that time but were named Teddy after Theodore Roosevelt in 1902 when he seems to have spared a bear on a shooting trip (during which presumably he killed lots of other things). Both gollies and teddies were at the height of their popularity when these photographs were taken by their anonymous postcard photographers around the time of the First World War. I had one of each as a child in the Second World War, among other worn, handed down dolls, three of which are described in Curriculum Vitae I.

Curriculum Vitae I, Oil and acrylic on board, 150 x 120 cm, 1986-1992

Except for CND marches in the fifties and, during the struggle against apartheid in South Africa (when I joined a group which showed internationally under the heading Artists Against Apartheid), I have not been much of a political activist.

Slegs Vir Almal (Reserved for everybody), Silkscreen, edition 50, 1976.

I mistrust all ideology and even managed, though strongly influenced in matters musical by Cornelius Cardew and John Tilbury, to dodge the Red Dawn Rising Over Luton. In fact the only card-carrying political affiliation I have had is with Clapham Young Conservatives having early discovered that their ping pong facilities were much superior to those of the Young Socialists.

Ping pong diplomacy did not end there. Salman Rushdie, at the height of the fatwa, adopted a deliberately irregular routine, with much cloak and daggery in the coming and going, of portrait sittings combined with ping pong and pizza. The story of the teacher and the teddy bear brought back memories of that passive activism; of painting Salman, sometimes with an armed guard in the studio and always with heavy back up outside.

Salman Rushdie, Oil on canvas, 50 x 60 cm, 1992

When illustrating my translation of Inferno I also made a picture of both Mahomet and Ali, to whom Dante gives such short and brutal shrift in Canto XXVIII. That was in the early eighties and then one hardly needed to give it a second thought.

Current Islamic orthodoxy bans depictions of the prophet. This applies to Moslems of course, but cannot to those who hold other religious beliefs (or no belief at all). Why shouldn't other faiths, sects and cults claim equal rights to make their rules apply to all? Overwhelmed with a Swiftian deluge of observances we might soon be struggling to remember if the Ammonites decreed that we should wear a funny hat on a Tuesday or if the Theodolites commanded that we should not eat turnips in June.

My painting XV

As at 9th May '08

I return to my painting, if only to note ironically that it shows the clear influence of Islamic calligraphy. It was precisely these strictures against description of the natural world that made the finest Islamic artists probe the expressive possibilities of script and bring an often sublime inventiveness to enrich to the art of the world.

My painting XXIV

Early May 2008

Although I shall still put 'My Painting' at the head of these instalments in the biography of a picture I have, at long last, found a title for it. Of the many words that have been churning around in my head two have come to rest together and seem to sum up what I think I am trying to do. QUANTUM POETICS is a juxtaposition which may even contain or conceal an unexpected truth. Unfortunately 'quantum' is a term much thrown about these days and needs to lassoo a tough qualifying companion to validate its use.

It would not take long to write out what little of the little that is understood of quantun dynamics I myself understand. Luckily however, in my own world, thought is often pictorial and imagery occupies the place of verbal or mathematical analysis.

Daunting explanations in print and conversation, while indeed enabling me to have a partial grasp of actualities, generate at the same time more freely formed embodiments in visual terms. These often link to the intuitions of the past which, in pattern and design, for 70,000 years have expressed things that were not ripe for use or available to knowledge.

Thus I am reminded again of how much human thought has been secreted over millennia in the rich resource of ornament. It was there for example that abstraction waited patiently for the twentieth century to discover and realise its riches.

Perhaps an imaged response might even have a modest purpose. What it can do is to try to articulate a part of that field of wonder that recent science has revealed, and which the art of the past had fragmentarily intuited. This picture is but one hesitant attempt at such a non verbal commentary, a contribution to the beginning of a poetics of quantum theory.

Periwinkle Diary III

On the last day of April I drew the seventh and final periwinkle of this year’s Periwinkle Diary (see Blog April 2007) started in 2006. Nothing like a quietish pencil drawing from nature to steady the mind and hand. Now that I have more or less retired from portrait painting I think to get back to life drawing (where all the ladders start); when I find the right model. Meanwhile the periwinkle is an uncomplaining substitute that needs neither rests nor cups of tea. All these periwinkle flowers are, for the first time, homegrown (tended by Megan in the front garden), so no raiding Ann's display up the road. Here are four of the current crop.

My painting XXIII

Late April 2008

Peter K asks whether I’ve found a title yet, having noted my reticence about that problem lately. Well, almost, I think, as the work itself moves quietly on. Strangely enough while this picture stands in need of a title I spent most of last Sunday at the Bloomsbury postcard fair with a title that is in search of a picture.

In the vein of the exhibition We Are The People, where I showed a sample of my embarrassingly large collection of old photographic postcards, I have one card which shows two anonymous boys with their teddy bears, which I want to use for half an evenhanded diptych. It will be entitled ‘Our teddies are called Mahomet and Ali. They are always fighting’. This refers of course to the glum affair in Sudan where a teacher was imprisoned for allowing her pupils to call a teddy bear Muhammed, the world’s most common first name.

The other half of the diptych calls for a postcard image of a similarly anonymous girl holding a golliwog, the title of which will be ‘My golliwog’s called Jesus’.

I did in fact find one card that may be right. In case a better turns up I’ll wait to put it up until the next entry at which time I will also divulge the title of my painting, on which multiple cliffhanger…

My painting XXII

Mid April 2008

How predictable is the unpredictability of art and the artist....

No sooner had I vowed to move forward, leaving unresolved areas to the end, than I was scuttling back to the middle South of the painting, to the chief disaster area where a calligraphic motif has been quietly strangling itself for weeks; an event that was robbing the work of much of its rhythm.

An interim operation brought immediate relief, though this kind of surgery is difficult since a new tracery has to be teased out of the old in negative fashion. Scraping back to the underpainting seems not to be allowed: I don't know where such constraints come from or why I declare myself not free to use any strategy I fancy. It is yet another aspect of the picture's tendency to dictate terms and my own tendency to accede to its wisdom. Perhaps the painting is protecting its own integrity of surface, an imperative in art from Cimabue to Jackson Pollock and beyond.

Also it needs to guard its nature as a composition, which is that of a continuum. Apart from the early radical gesture of replacing the North East corner panel, all procedures have been additive. The rightness of this current emendation was proved by how, once the incision was complete, the separated section floated free; like a released balloon.

My painting XXI

as at April 8th 2008

I begin to suspect as I forge on eastwards that I leave too many worries in my wake; a mounting toll of passages which do not quite work. Some I will no doubt be able to nudge into life while, with others, I can lean on my favourite Zen mantra, These problems will tend to disappear. There are however one or two trouble spots that, in that fine imagined last westward sweep of revision and adjustment, might continue to prove intractable: yet my instinct (which may well be cowardice in disguise) tells me to move on.

Every picture has its puzzle-solving crises and needs, at some juncture, either a small but daring manoeuvre or a grand gesture (eg turning the whole thing upside down). To proceed unchallenged is as unsatisfying as beating a weak opponent at chess, or breezing through a Sudoku in merely the time it takes to fill the squares.

A good Sudoku however, will usually bring one to a point of exasperation, after which miniature agony one suddenly spots the critical move and all remaining numbers tumble into place. So with the picture I trust to the late intervention of the Fairy Feller’s Master-Stroke to crack the problem.

It is not irrelevant to invoke Richard Dadd since this painting too has its lunatic aspect. Its dogged intricacy has much in common with the art of the mad, as Harry Birtwistle (himself only just released from the million-note labyrinth of a new opera) was quick to remark last week when he came to take a look at the picture.

In art you have a chance to repair the past so it’s forward ahead for the harmless artist self-sectioned in his studio and clinging to the words of William Blake… If a fool would persist in his folly he will become wise.

My painting XX

Early April

To get oneself talking, ask oneself a question. One reason for laying down the splodgy field of random colour is to have something to respond to other than the frightening white of a newly primed panel [see the unworked panel here in the southeast of the painting ].

Even as a child my first instinct was to mess up the paper before beginning, hoping to find in that mindless confusion of runny posterpaint some suggestion of event. Although I did not know it at the time this is Leonardo's recommended method for the young artist whom he instructs to gaze at a stain on the wall until landscapes emerge and are peopled with figures.

With my painting, by perverse extension, I set up one abstraction to feed another.

In addition to banishing the virginal white [the only time any picture is perfect] I thus drive away the fear of finding no colour in my head.

For I am not one of nature's born colourists. Just as at art school there will always be, amongst one's fellow students, one that cannot make an awkward or ugly mark there will be another who is tone perfect… I can see her now… she has put down a vibrant crimson and is mixing some kind of twilight blue… and yes, it nestles against the red. Each makes the other sing… and now a yellow green satisfyingly completes the chord.

Such harmonic certainty one can but envy and congratulate, and then pass on to find one's own mode of plundering colour's endless resource. The same has been the story in my musical life where I have struggled to attain even a modestly reliable sense of relative pitch.

It was through music in the early sixties that I found release. John Tilbury was my mentor and through him I became friends also with Cornelius Cardew, Christian Wolff and most especially with Morton Feldman. I learned to value every and any combination of notes and timbres. So, by analogy, I saw that there were no colours that did not go together. Each conjunction has a character and reverberative identity to be sought and used. To free myself further from the Euston Road I also used chance (via the I Ching via John Cage) to trap myself into making bolder decisions.

I found my motto in the usual place – the inexhaustible pages of A Human Document.

The process of mining such fragments from Mallock's text, I suddenly realise, is the mirror image of making this picture; working over the colour field, selecting parts of it and using the shapes that eventuate. With A Humument I am of course, by mining his field of verbal colour, standing on someone else's shoulders, whereas here in the painting (despite the anatomical difficulty) I am standing on my own.

In music one plays best by listening, even just to oneself. When I'm improvising at the piano (the only kind of playing I do these days) it is by hearing some shift in the bass that I am made to divert the right hand from what it was poised to play and reach for something more inventive. I am not much of a pianist so I need my own self to give me all the help I can get, and then not to be afraid to take it.

Slowly one makes progress. I used to be scared of yellow which I never seemed to be able to control. Now I've learned to let it have its way. I have, however, yet to learn to use black confidently as a colour.

Perhaps not being a natural colourist has had its advantages since I've been forced into discoveries by treating all colours alike: it is a version of democracy.

My painting XIX

Colour Notes I

An inventory of the names on the labels on all the tubes that so far have been squeezed in the service of this picture would read as majestically as Homer’s epic list of ships. You might from that expect the colour orchestration of the work to be as lavish as in the tone poems of Richard Strauss (with the risk of being as lurid as in those of Respighi) and yet the painting on the wall of my studio seen at any distance is in most lights, a relatively sober affair.

Any detail however, will show the variety of pigments present and the relative purity of their mixtures (e.g. almost no use of black with any of the colours).


As is so often the case in art some larger thing than the actual passages and sections that one is concentrating on will eventually dominate the painting’s character. This overall identity might run counter to any plan and be wholly beyond the artist’s powers of prediction. Similar subverting of intentions is the process after all that gives us for example such oxymoronic emblems as the melancholy clown.


Of all the art forms painting is the most like alchemy. It has much in common with that other unsinister alchemical craft, cookery. Who could predict for example that a mixture of potato leftovers and yesterday's gone-cold greens, when mixed and fried up, would produce that magical and uniquely flavoured dish we call bubble and squeak?
An artist’s manual, with its many recipes for grounds and glazes, its guide to the use of arcane implements and its roster of recommended procedures (e.g. “start lean end fat” meaning don’t use too much oil in the underpainting) is very much like a cookery book. Completely to ignore the precepts of handbooks can lead to disaster as with Leonardo’s self-destructing medium for mural painting or Reynolds’s fatal use of bitumen; yet every chef would understand Picasso’s dictum “If I can’t find the red I use green”. They would also be quick to see the truth in Frank Auerbach’s reply to criticism of the dangerous looking thickness of his paint, “What counts is whether you put it on with love”. Give two cooks the same book and they will come up with different results. As with painting, when garniture serves substance and all is unified, spice against spice, the final dish transcends the recipe.

Here in my own picture, partly through ignorance and partly through the invitation of chance, I find myself producing a thing of unexpected mutability. At differing times of day the colour field presented can range from an aura of mossy green to a slightly baleful purple. In the early morning it may have a blue cast (reminding me of old Westerns shot in Eastmancolor), whereas when seen by electric light alone all the acid fire of reds and yellows awake as if from a sleep to illuminate a quite other kind of battlefield.

Every picture of course is changed in some degree by varying light but none (at least of mine) has ever surprised me with such a range of moods.

My Painting cont'd XVIII

Over a print-out of the picture in its current state (as seen above) I make another drawing. It shows how I am gamely trying to control the present while predicting the future and tinkering with the past. Such diagrams of shifting thought rapidly become palimpsests, as from a pictorial Satnav unreliably installed, of pathways rejected almost as soon as they are proposed.


The encounter I recently described, where paranormal planes of colour rise disembodied out above the picture’s surface until the whole work seemed to be made of shimmering veils, now seems less disconcerting. Finding that the phenomenon is not unique to this painting has helped. I discovered that a picture I have been working on in my Oxford studio produces the same sensation. It only needed a short stare to make this canvas in its turn yield up similar hovering illusions of depth. This picture, also long worked on and as yet untitled, is painted in the manner of a mosaic. In a sense it is a study for the work I am doing in Westminster Cathedral. The insistent patterning of the tesserae engenders in this case its own layer of black, a spidery phantom which floats well free of all other colours, as if to illustrate Dr Johnson’s wittily abstract definition, in his great dictionary, of a net... ‘anything reticulated or decussated at regular intervals with interstices between the intersections.’

Mosaic Painting, in progress, 2008.

My Painting cont'd XVII

Having now found the off switch to the spooky illusion of colour stratified in space (though still indulging in the occasional vivid trance of depth) I return to other anxieties, especially to do with how the painting itself has taken over in a different way.

Just as the novelist reaches a certain point where his characters, empowered by a sudden and mysterious accession of free will, begin to act and speak for themselves and to contradict their creator’s intentions, so the artist is surprised when the shapes and colours and configurations of elements in his painting start to clamour for a similar autonomy. They argue with the painter and amongst themselves. The artist who started as captain becomes an umpire as well.

The last thing I do every night is look in the studio to inspect the day’s work, and think about the general state of play. Also, unbreakfasted and teeth as yet unbrushed, it is the first thing I do each morning. I like to see whether, say, yesterday’s radical gesture has been absorbed by the image as a whole. It is a constant of infanthood to imagine one's toys and dolls having a communal life of talk and action when their owner sleeps. So with that same infant optimism I look to see if any problems have been resolved while my eyes were shut.

This can also prove be the Frankenstein moment when a picture that one left in apparent calm seems to have had a bad night and groans its dissatisfaction at recent changes.

As I move eastward across the surface I realise that new manoeuvres affect the mood of previous work and at the moment all is distinctly unquiet on the Western Front. Certain marks are pressing for revision, for a second chance. While one begs for fusion with a neighbouring element another is suing for divorce from its present partnering.

Making such sorties backwards in the picture to dress a wound or reset a bone has its own peculiarity. I find that although the language of the picture is consistent, the past has a slightly different dialect. This was especially true when remaking the initial panel in the image’s far North West territory. In terms of colour alone, I found in that region that I did not have (almost a year ago) on my palette the prussian side of the blue scale but was rooting cool areas in ultramarine alone. Thus I had the choice of readopting the old colour dialect or infiltrating (as if on a modest time machine) news from the future. I chose the latter course.

But at least I am still in charge. However, I know from experience that a moment will come (months away as yet) when the work banishes its creator. In the end it is the painting that declares itself finished.

The artist does not necessarily know when the mark he has just made is the last. He will enter the studio one morning and find, almost with brush poised, that the picture is as out of bounds as a taped-off crime scene.

It must then be accepted WAF as the book dealers’ catalogues say, with all faults. If the artist wants to improve things his only option is to do so with another painting.

My Painting cont'd XVI

(Seated one day at the easel…)

Something strange has occurred with the painting, unique in my experience.

As in the chilling stories of M R James this account begins prosaically…

I am in my studio chair with the winter light about to fade. It is teatime and I look across to my painting arrayed on the wall, hoping to identify some progress. A sudden shaft of lemony light illuminates the centre of the picture giving its colours new vivacity.

Concentrating on that troublesome area where much has yet to be resolved and where an indecisive hole of underpainting is still exposed. I notice with surprise that the surrounding tracery of paint seems to quiver as if trying to detach itself from the surface of the panel. A cloud passes and the effect disappears but after a few minutes, in another glare of low sunlight, it reasserts itself. I can now unequivocally experience parts of the picture lifted, as if on another plane, free of the mostly subdued colours of the random underpainting. As the light fades to evening greyness so the perturbation ceases, and when I switch on the electric light all returns to a fixed normality.

The following morning painting proceeds as usual. Returning from lunch however I find the studio more intensely lit, and soon, as if raising a spirit, I can begin to lift a layer of overpainting into the thin air above the surface of the panels in that same area. This now floats an apparent inch or so in space in front of the rest of the paint. I discover also that this is not a merely local phenomenon but one that can be summoned over the whole area though initially most apparent where the underpainting has been left alone. While the light holds I acquire the knack of switching the apparition on and off.

The next day I am disappointed (and also almost relieved) not to see parts of the painting floating free. But once more, after lunch the light becomes denser and the coloured veil begins to lift unbidden. Now with more constant illumination from a clear sky I find a second layer and then a third projected one in front of the other occupying a conjectured three inches or so.

In essence this follows the rules of recessive and foregrounding colours that one learns at art school, with red things looking nearer and blue things further away etc. My Euston Road training with Euan Uglow and others still conditions me to think of a London Bus as turning lilac by degrees as it drives into the distance.

Here the colours do not follow the rule strictly: some reds hang back and some blues reach forward. Lightness and darkness also play their roles in relative position.

Still gripped by the novelty of the experience I wander mentally between the layers and find I can separate at least five of them out, the nearest of which now feels to be six inches or so in front of the panels. This front layer is sparsely occupied by otherwise homeless bright spots some of which travel through from the distant underpainting.

In the days that follow I both savour and resent the illusion for now I do not need, so to speak, to make any effort to have lift-off; it is always there and distractingly magical.

The phantom dimensions that are engendered and, with each looking, become more clear are not part of a rounded world but like theatre flats, or rather gauzes since they have no solidity. The nearest analogy is the world as presented by those stereoscopic photographs seen through a viewer which were so popular in the early days of photography. A great illusion of depth is produced but only in terms of receding two dimensional layers whereby papery people stand in front of wafer-thin houses against a background of flat trees.

The only difference here is that, in an abstraction, these divisions are only made of colour with no objective identity. Thus I peer through brane beyond insubstantial brane of patterning in which the colours have lost the physicality of pigment. They merely seem suspended in the air unattached to anything but the imagined plane which they inhabit (and which cannot itself in any way be seen).

I certainly had no such goal in mind when I started the work and do not see it as necessarily adding quality to the image. It is merely an epiphenomenon of the way in which the picture is made, however beautiful it is to experience as it grows in depth and complexity.

In a real M R James story, or a tale by Edgar Allen Poe, the layers would of course continue to advance across the studio until I became snared in their intricate webs and entrapped by the thing I had created……. if, therefore, this account suddenly peters out and there are no more entries you will know what has happened.

My painting cont'd XV

Late February 2008

When I supplied a version of this commentary as Episode I of a contribution to Turps magazine [www.turpsbanana.com or coming soon to your nearest esoteric outlet] I appended, in place of the hoped for cliff-hanger, the following dry account of such technical data as a professional journal might expect...

Technical Notes

Technically there are no mysteries. The fabrication is simple and the means austere. Andy has now provided me with panels for the whole work based on the one I started with (now replaced). The surface of each is 3.2mm untempered hardboard braced by pine battens 27mm x 27mm glued on with Titebond (aliphatic resin wood adhesive). They are primed with Golden Acrylic white primer toned down with Mars Black (Tri Art). The primer has been given some ‘tooth’ by the addition of pumice (grade 250 grit) which also makes for a more matte surface. Proportion is approx one teaspoonful to a litre of primer, which is applied in 4 or 5 coats with 24hr hardening time between each application. The final surface is then lightly sanded with 400 grit wet and dry paper (silicon carbide) used dry.

Each panel is underpainted with an all over, hastily brushed, random field of muted colour with mid-tones predominating and the occasional accent of purer hues amongst the general diffuseness. This is what happened with the second panel I started and became the general practise, though not too much effort is made to achieve the same effect with each.

As for the oil paint itself I now tend to use Michael Harding’s rich pigments for the most part though I retain old favourites from Winsor & Newton’s range, notably the pungent Winsor Green and the potent Winsor Violet. There are of course other tubes occasionally brought into play variously bought at various times, some as long as thirty years ago, including a seemingly inexhaustible tube of Indian Red from Spectrum, a relic of art school days. I don’t use any fancy driers or extra mediums, relying on white spirit. Only in the world of art mags is there no substitute for turps.

For the underpainting I’m happy to use any medium size brush that comes to hand. The delicate tracery and detailed patterning that rapidly became the norm of the second stage called for small fine brushes that would retain their point and have the necessary spring. In my schoolboy days this would have evoked the hushed mention of Kolinsky Sable. One knew that for really fine painting only this treasured hair, gathered from rare and rufous rodents in the Steppes of central Asia, would do. This is a myth, or has become one. I have tried the ever improving range of artificial fibres which started a generation ago with very floppy nylon but now firm mixtures of hair are used, which keep their spring and shape after repeated use and only need a brisk rinse in white spirit at the end of the day. Prolene (Pro-Arte) and Cotman (Winsor & Newton) are excellent in small sizes but I have a slight preference for Sablette made by Utrecht, which I found in the shop opposite the Chelsea Hotel. In all the surface painting so far I have used up no more than three such size 1 brushes. No weasel fears my easel: let mustela sibirica scamper free.

Radio 3: Sunday 24th February

Portrait of Olivier Messiaen, acrylic on panel, 1993

For any who might have listened to Iain Burnside's Radio 3 programme on Sunday 24th February here is the portrait (Vingt Regards) that I did of Olivier Messiaen for the French National Collection. This was the subject of my long rambling anecdote.

TP on Radio 3

On Sunday, 24th February, Tom Phillips will be in conversation with Iain Burnside on his Sunday morning show on Radio 3, playing amongst other things the studio tape of Brian Eno's Like Running Away. The two hour programme begins at 10am. For further information follow this link where you will be able to listen to the programme again for seven days after broadcast.

My painting cont'd XIV

It is Dante time in the enterprise, nel mezzo del cammin… just half way through the journey… on what is getting to be a bumpy road judging from the bulge of chaos in the centre, plus the many elements still unresolved; and a beginning panel yet to be fully reworked.

Nevertheless it seems a natural break in the story, like the interval in a two act opera when the plot is known and the aesthetic established even if the outcome is only to be guessed at. Whatever the case Vincero! Vinc-e-ero! seems a long way off.

It would be a strange opera however that, by the time the audience sought bars and lavatories or the ever shrinking smoker’s ghetto, had not announced its title. I am still somehow left with Untitled: A Fragment which is neither resonant, inviting nor informative, and which begs the question, “What’s it all about then, guv?” This question properly dogs my working day where every certainty has its corresponding doubt and in which the only absolute certainty is doubt itself. On the other hand it is axiomatic of abstract art that it strives to be non-referential and thus it is an appropriate and primary aim of this picture that it should be an autonomous act of painting.

However the difficulty of finding a title is caused more by a multiplicity rather than a paucity of allusion; though allusion is not quite the right word. Dante says that his Comedy (it was not he that called it Divine) in terms of its meaning is polysemous, a many layered thing. My picture avoids his particularity of meaning and its visual dialectic might better be described as polyanalogical. Passing through it there are ghosts of many kinds of enquiry and activity from cosmology to tattooing. These include, among others, mapmaking, dance, territorial board games, quantum physics, ping pong, calligraphy, topology, semiotics, form and growth in nature and the mark-making of early man. Of some I have little understanding (quantum physics) or am a lowly practitioner (ping pong) but there is one more familiar parallel world whose totality, as well as its parts (pitch, key, tonal spectrum, rhythms, form and dynamic), proves a constant model for much of what I do, and that is music.

Yet the upper stratum of my thought when working, or just staring dumbly wondering how to go on, is purely pictorial. The picture, by alluding to no thing specifically, remains for me a permeable structure which associations can enter freely, visit and leave, or stay and inhabit.

My goal is that those who see it will find it equally porous, and, remembering the girl heroine of Eleanora H. Porter’s popular novel, Pollyanna, will relish the ‘glad game’ I hope to make (which makes me think that polyanalogical was not such a bad word).

My painting cont'd XIII

Here Alice has cooked up, by the addition of underpainting yet unmade, a composite image which shows more clearly how the picture is going. This is in preparation for an article in Turps magazine which will be a digest of this blog as Part I of a gripping two part series. The next entry here will make the half time summary.

After observing my maladroit fidgeting with clamps to hold any two panels together on the easel Andy suggested making a simple holder, here in use, which does the trick... with the additional benefit of giving the hand a less risky resting place than on the picture surface.

My painting cont'd XII The TITLE

If I already had a basic title for my painting I could qualify it with the words 'a fragment' as in 'X: a fragment'. One of the few things that can be said with any certainty is that the work squarely declares its incompleteness by implying at all edges (so far) its continuation.

Were I now, suddenly, to decide to increase its size and add panels all round I can only imagine I would continue in the same way and end up with edges which would again imply their extension into yet further panels. Thus my painting is a fragment of a larger conjectural fragment which in turn must be a section of a yet larger etc. etc.

In all directions my studio limits the size of the piece. Also, in the dimension of time, the finitude of my life is, unlike the universe (whatever that may turn out to be), contracting rather than expanding.

There is another dimension also which a picture inhabits (one not often invoked by mathematicians) and whose questions it has to answer; this is the moral dimension. The testing factor here is whether the marks that meet the edge are genuinely capable of coherent extension in a world whose rhythm, colour, formal vocabulary etc. they have already played a part in.

These speculations seem by their very uncertainty to give the picture the character of a living thing. Perhaps it has indeed proved its organic nature by rejecting the panel with which it started (see blog 7 Aug '07).

A Humument p27, 2008.

Meanwhile the procedures of this painting are still creeping into A Humument. A particularly virulent strain is here seen to infect that most tired and cynical of contemporary British art's profitable tropes, the repeated spot. This is not their first appearance in the book (see blog 17 Jan '07). The case is well advanced in this page where as crypto ornamentalism attacks the motif's blandness an appropriate commentary emerges from the text to echo Brecht's song of Mahagonny "Oh show us the way to the next whisky bar..."

My painting cont'd XI

Here is the current state of play in my picture, put this week to a stern test by a visit to CERN and the Large Hadron Collider now in its final stages of construction. It is for the last time viewable in all its gigantic glory with its electrical nerves and engineering muscle anatomically exposed. Like a great beast of mythology it lurks deep underground awaiting its task and is huge in paradoxical proportion to its inconceivably small and evanescent prey. Returning from this cavernous Xanadu in the Jura to a small studio in Peckham was humbling but in no way dispiriting. If anything I felt that the things I saw (and only half understood) had been not merely invigorating but mysteriously endorsed what I was doing. The unknown is common ground and looking at my painting, which I can no longer think to call large, I see it has no boundaries [of which, or the absence of which, more anon].