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There's a very early pen drawing by Paul Klee of two men greeting each other
each supposing that the other is of superior rank. Worlds apart of course from
Tintoretto's pencil sketch of the return of the prodigal, but I do very much respond to the thing unsaid which creates the tension.
Not quite a narrative but a poignant and enigmatic moment.
* There is one early oil on board from this series, the rest are watercolours and prints.
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In 2019 I sustained an injury to my right arm which meant having to abandon my usual practice of working from the life model.
The size of canvas had to be rethought.
Fortunately a new facility had just been introduced to the galleries in Dean Clough.
“The Sutcliffe Bequest” consisted of a collection of books on painting, sculpture, design and most forms of art practice.
The first book I opened was a collection of drawings by Rembrandt and included one quick red chalk drawing I had not come across before
“Two women taking a child on its first walk”.
It was a charming study that demonstrated the “Universal in the Particular”.
This discovery prompted a series of transcriptions or variations and is still very much ongoing.
In a word it has become obsessional.
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A small fragment from an old photograph had been in my possession
for many years.
A wreck of a man in a desperate situation, seeking
solace through singing from a hymn song sheet in the refuge of a
hostel in a poor district of New York.
This would be during the great depression, and I found it very
moving.
The focal point in the shot is the open mouth in song.
One
small painting after another until six seemed enough to constitute a
choir, then I realised that the number might well increase depending
on the limits of my imagination.
Any similarity to a screaming pope
would have to be avoided of course.
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This series is simply the extension of my interest in the life model on the move a medium sized painting around 1647 by Rembrandt depicting the struggle face by Susanna whilst a Puto (a Cupid type figure unable to take any part in the narrative) slowly walks by. I placed the action underwater for no other reason then I found that the watercolour effects seemed to suggest airbubbles. Why not? as my friend Alan gummerson would have said.
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A first landscape. Two trees leading to steps down to a lake.
At the start of the pandemic the national mood was, to say the least, downcast,
I like many others felt the need to reflect the desperation of the time through painting and in particular a kind of landscape - a picture of stillness placid calm melancholy with perhaps just a hint of hope for the future.
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Searching through my librarybooks looking for inspiration, I at last came across
'Applicants for Admission to a Casual Ward' by Luke Fildes,
a book on Victorian narrative painting. This work was new to me and made quite an impact.
It was a large and long oil painting completed in 1874.
A long line of unfortunate victims both young and old were depicted with the central
figures being of special significance to me. I removed the dustman's cap from the head of the
father and replaced it with a shock of hair in my own transcription of the work.
I even added a touch or two of a crimson colour to the cheek and nose, colour that I had never used before.
The father was desperately concerned for his daughter, as she gently pulled at his beard.
Sitting back on my studio stool, I became aware that unknowingly I had painted my own portrait at the
age of forty. I believe the child would survive and like many others felt the need to reflect
the desperation of the time through painting and in particular a kind of landscape
- a picture of stillness placid calm melancholy with perhaps just a hint of hope for the future.
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