I’ll be giving a 20 minute talk after lunch on the Saturday in Credenhill Church
The imagination is a kind of route of thought that finds a way towards perception. It can take more energy than pushing through dense bracken. The imagination needs to create its own path.
Two of my paintings and two of my painted books are included in the Hereford Cathedral exhibition ‘Mapping Inspirations’. The exhibition features work by contemporary artists within the Mappa Mundi display and The Chained Library. Other Artists are Genievieve Belgard, Charlie Calder Potts, Ewan David Eason and Grayson Perry. 10th April to 15th July 2017
CiR Hereford College of Arts, September 2015 – April 2016
Artist’s Statement April 2016
This residency began with a wish to explore the work of Herefordshire writer Thomas Traherne (1637-74) in such a way as to make visible some of the spiritual ideas in his writing. I have personalised his ideas as a way to develop my own visual language and outlook. The images, derived from Traherne’s poetic ideas such as ‘Thoughts are Angels sent abroad’, ‘They really do Bottle our Teares’ and ‘The Sun is a glorious Creature’ are chosen with a view to collate images for wellbeing. These images, inspired by Traherne’s poetry and poetic prose are a way of making emotional descriptions of nature something mapped in an imaginary way. The two term residency at Herefordshire College of art has been invaluable in allowing me to find new ways of working with etching and painted monoprint. It felt surprisingly seamless, to be able to work in different ways and mediums in the Printmaking Workshop and the two libraries, in the way that an in depth project can. It was a simple aim really, to find new images. And they did turn up like treasures on a shore line. Now is the time to take them inland.
‘Untangled from all the world’
Thomas Traherne’s writing for me illuminates the possibility of, in his phrase, being ‘untangled from all the world’. As a visual artist, much of my visual development is about the layering of lines and the spaces between them represented by patches of transparent, translucent and opaque colour of differing tone and intensity. It can get complicated. Turning to the writing of Thomas Traherne can open up, for the reader, a particular way of experiencing the world. He was almost a cartographer. He wrote of ways of knowing the world.
You never enjoy the world aright, till the Sea itself floweth in your veins, till you are clothed with the heavens, and crowned with the stars…
Thomas Traherne from ‘Centuries of Meditations’
The above lines about ways of enjoying and perceiving the world were the first I came to know by Thomas Traherne. I read them quoted in connection to exploring ways of map making. The concept evokes medieval Mappa Mundi like the Ebstorf map and the Hereford Mappa Mundi. The Hereford map may have been on display in the cathedral when Thomas was a boy growing up in the city.
Traherne writes about his childhood in Hereford in a way not dissimilar to William Blake’s sweeping spiritually heightened descriptions of London.
Without we see Streets, Cities, Houses, Lands, Bodies, Temples, Skies etc. But it is impossible to see, so as to Enjoy them, unless only within.
Thomas Traherne, unlike Blake, was not a visual artist, although as a boy he writes of ‘light discovering’ a painting’s ancient story.
A painted cloth there was,
Wherein some ancient story wrought
A little entertained my thought,
Which light discovered through the glass.
Traherne’s descriptions of childhood’s wonder rediscovered, in a vision of nature and of ownership of the whole world are timeless poetic ideas.
The Spiritual Sun
They really bottle our Teares
Details from etchings,
handcoloured above and below, before printing
In 2006, I began a series of new mono prints. The two pictured here were part of a group exhibited at The Royal Academy of Arts exhibition ‘The Edge of Printing’ curated by Tess Jaray RA. The mono prints I made were worked on and into with watercolour and tempera colours. Ii was exiting to see how the materials worked together. I felt an imaginary landscape could be created – almost an environment on the page. The final monoprint in this series was called. ‘Gemstone Orchard’ (yet to be photographed) . I felt the picture making connected me back to the landscape. Woodland and orchards surround Ledbury where I live and work. The nearby Malverns give high views of these. The landscape has become part of my imagination.
I’ve been invited to be a selector alongside David Moore who is an independent curator, writer, researcher and museum/gallery consultant as part of Herefordshire Art Week. This is the second year running that I’ve had this role and I very much look forward to seeing all the work. The exhibition takes place at Hereford Museum and Art Gallery. Have a look on the H’Art Website to find out more about it.
On Tuesday 3rd July, I gave an illustrated talk on the concept of Visionary Cartography as seen in the work of William Blake and Medieval Mappae Mundi and discussed a way of working which aims to represent the infinite in the moment.
A video of this event is on its way.
Two circular paintings Karuna and Metta are were on display at the Royal Academy of Arts this Summer.
The works are mentioned in an article about the Summer Exhibition in the RA Magazine and Metta is included in the RA Illustrated 2012 which catalogues a selection of works from the exhibition.
Tess Jaray RA, who has co-ordinated the Summer Exhibition this year, has had her book ‘Mysteries and Confessions’ reprinted in paperback by the RA. The book has a section about my paintings called ‘The Bear’.
Beginning a new painting is beginning a new process of integration, making a new world
Big bees circle in the mansion house. Furry black and yellow. Four or five can be seen at eye level in the bare, light rooms. They have perfectly rounded wings. I stand on the dusty floorboards and wonder at these larger than life, exquisite insects.
I look down and see I am holding a copper sphere. It is in two halves like an Easter egg. The red metallic colour rubs away in my hands.
The coals in the fireplace of the cold cheerless room have become grey ash. The wooden handled brush is coated with pale paint flaking. I brush out plenty of the soft ash. To my surprise there are buried coals which glow warm. I put on more coals and stoke the fire. With sharp strong feather tips, red and orange flames rise high and vigorous from the fire black.
A single flower grows in the roadside woods at Five Acres in the Forest of Dean. A creamy ivory colour, the flower is a perfect beauty. She is called a Raspberry Rose because of the raspberry like fruits growing from her fluted stalk of fine celery. Her petals are domed, soft and pearly.