Saturday thoughts: black, white, grey, erasure, rebuilding, remembering

I’m in the middle of doing a large charcoal and chalk drawing on black pastel paper. I’ve always had a penchant for working on black surfaces. During my MA I projected videos onto black perspex, lay thick printing inks onto black watercolour when I made monoprints.


I attended an Arvon writing residency about arts writing and we were invited to choose an image to write about in first person. I chose this:

ellsworth-kelly-ek-319-daros

and wrote this:

ELLSWORTH KELLY 1963
WHITE OVER BLACK
I am the shadow underneath
Hosted on black, barely visible
Where white drapes over me, I gain attention
You will notice white more too
When I lurk below it
Even the black cannot deny me
When white reveals me
Without my subtlety
Their boldness would go unnoticed
They would be flat dull and lifeless
I am the space between
I give the illusion of space
I am their breathe

My first ever website was called “Grey Matters” and had a drawing of a human brain as it’s main image. I’ve always enjoyed exploring liminal places, and spaces, and thoughts.


I married a man named Black


I wear black



I have always had black and white pets!


I just looked for some of my old work in my portfolio and found these old friends. After all these years I can see a connection in my artwork. Landscape. Virtuality. Space. Trees.

Worked in many mediums, woodcuts, lino cuts, etchings, ink washes, charcoal, photography, projected shed snake skins (yes, that’s my self portrait!)

So here they are, a blast from my past, and a work in progress now…..(click each for full size)

 


work in progress today:

pond series - work in progress 190119
charcoal and chalk pastel on black pastel paper 1 metre wide

Of church bells, towers & vertigo – 360-degree images from high above the River Severn

Earlier this year Andy Vivian very kindly took me up into the bell tower of St. Peter’s Church in Newnham. We were armed with my 360-degree camera which I controlled remotely. Those who know me well are aware that if I stand on a chair I get dizzy and wobbly, so going up into the tower was a feat and looking out of the window almost impossible for me. With support from Andy, I managed to position the camera precariously on a tripod to capture some stunning views.

I was fine on the level of the Carolan bells and took several photos of the view through the windows. But the real bell tower, where the enormous church bells are, is yet another storey up. My knees turned to jelly. No way could I do that. Climbing up the tight spiral staircase to the entry point was one thing, but climbing up through a hole in the floor, and balancing on beams, was unimaginable for me.

Andy kindly did that bit and positioned the camera in various locations with instructions from below, as I directed from my iPhone screen – “left a bit, turn it a bit, yes, perfect, now hide!”.

Viewing on the tiny phone screen, the image was not very clear, but when I uploaded them onto my computer –  wow – I was stunned! The views through the windows have a medieval timelessness to them. The river framed by wonderful architectural arches and the lichen and stonework revealed. The images of the big bells were something entirely unexpected.

The surprise was the playschool colour of the steel beams in the upper bell chamber. I was expecting bronze-y, dirty colours but BOOM! Bright red, yellow and green powder coated steel rang out loud and clear!

I’ve been working with the images the last few days, preparing some to put up in the Newnham Community Library. Seeing them together as a set makes me realise what a privilege it was, both to go up there and to have a 360 camera I can experiment with.

Library hours are limited, but if you are in the Armoury Hall for other reasons, do nip in and have a look at them on the wall. They are presented in 18cm square frames, black or white. I’ve a feeling they may be popular, and the exhibition will be up right through to Christmas, so I can take orders. Deadline for orders will be 1st December 2018 and dependant on availability of the frames.

There will be other works in the library, original, large, panoramic drawings and a few smaller prints.

And a show coming up in Brockweir Community Shop.

And my book Severnside: An Artist’s View Of The River Severn will be launched very soon.

Here’s a little preview of the church photographs, not great due to reflections but I never complain about sunshine!

fullsizeoutput_ae2IMG_0077

sunspots in my eyes, sunrise over the Severn

I’m on the banks of the Severn, just before sunrise. I know it’s coming very soon, as above the Cotswold skyline there is a small row of eight or nine clouds just above the horizon. They look like fragments of torn paper, maybe from a to-do list, all of similar width and height, separated by tiny bits of sky. They are up-lit by the sun below and as it rises it frames them with a subtle, red, glowing edge. Each piece becomes more vividly defined before the power of the sun overcomes my retina’s and the tiny clouds fade away in the glare.

I’m standing precisely opposite this imminent sunrise and the wildlife around the river is responding to it’s arrival too. Crows and gulls spiral above my head, calling, whilst on the watery stage characters enter from both left and right. On my left, a sole duck floats silently towards the centre of the stage, anticipating the arrival of it’s spotlight. It is a little early really, but that’s fine, it will learn.

On my right three ducks slip out from behind the cliff, chattering together.

Above my head, the world of business is approaching another Monday morning. Transatlantic planes fly toward the sun, European ones too, but lower in the sky. None of them are much more than tiny white arrows high above, leaving chalky tails in the pale blue sky. I wonder, when we have gone through Brexit, will this lessen? Will the sky become hauntingly quiet, as it did in 2010 when the volcanic Icelandic dust forced the closure of the UK airspace?

I think about M.C. Escher’s patterns of black and white birds. Today the sky is like that, the white ‘birds’ are planes, the black one’s are crows and gulls. The scale changes, as it does in his drawings, those flying lowest are closer, more vivid, those in the distance more abstract and vague. I recall Norman Ackroyd and Robert McFarlane discussing the white birds in Ackroyd’s paintings, on Radio 4 last week. How the little egret is now the whitest bird we see on our rivers. There are none here today, sadly. They will have flown off with the herons earlier, before the tide rolled in.

As I absorb all these activities, a circle of ripples appears in the water. A number of other concentric rings roll up out of the water, then disappear. They are moving closer to centre stage, they know that, very soon, the sun will rise in full glory. The lone duck is now joined by two other pairs, all moving determinedly towards the golden rippled area that is appearing on the surface of the water. The fish underwater do the same.

The shimmering lines of light come closer to me, creeping over the lapping tidal waves as the sea flows upriver, as it always does, on the Severn.

We reach the crescendo, the great ball of fire rises up and the ducks are silhouetted by its brightness, bobbing about on the highlights of the folds in the water. I stare in wonder at this red mass and take a deep breath – the day has begun. I turn away to walk home and see vibrant acid green sunspots peppering the ground. I watch them as I move back up to the path. As I walk up the street I notice they are now red blurs.

Eyes are amazing, complimentary colours vying for attention, just as the skyborn objects were, the fish in the water, the ducks on the waves.

All mere sunspots in my eyes.

 

 

 

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