Sketchbook 1st spreadAs a way of pushing myself to create images using different media, I am taking part in the Brooklyn Art Library’s Sketchbook Project. The eventual aim is to create a new preliminary drawing/ digital construct on which to base a new painting.

This slideshow requires JavaScript.

One of the conditions I set myself was to make the sketchbook entirely visual (my usual practice is to write loads of notes). So far there has been a fair amount of back and forth between work in the sketchbook and using Affinity to manipulate images on my laptop.

You can sign up to the project, receive a blank sketchbook, fill it up and submit it to the world’s largest collection of sketchbooks here: www.brooklynartlibrary.com/sbp

brooklyn

Advertisements

Landscape in Three Parts, 2018– Landscape In Three Parts (Sketch), 2018 –

This was one possible solution to how do I paint a “landscape” using square canvases (80 x 80 cm)…it’s still on the back burner while I work through some other stuff…

* * *

David Cook and I recently completed an online conversation about Jasper Johns and you can find all three parts at https://londoneyeball.wordpress.com/

Street Portrait (for and of Gary Numan), 2018– Street Portrait (for and of Gary Numan), 2018 –

Last Wednesday I ran into Gary Numan and his dad Tony in Central London. We had a bit of a chat and they were really nice people and great about me taking a few shots.

As a young teenager I was obsessed with Gary’s album Telekon – I bought two of the three singles released from it and eventually the album. It still holds up as a great piece of work.

But he’s got a great catalogue that’s well worth checking out, including a new critically acclaimed album called Savage. The video below was taken from a celebration, earlier this year, of the UK music programme (now sadly off air) The Old Grey Whistle Test.

The portrait of Gary is a crop from the photograph below. On the left is his dad, Tony. Thanks very much letting me take the shot Gary and Tony.

Gary Numan and Tony WebbGary and Tony, 2018

*

On Friday night Walk Upright launched their self-titled album at the Betsey Trotwood in Farringdon, London, UK. The venue is so small I had to make a composite image of the band…

Walk UprightGreat gig!

* * *

Ashley Lily Scarlett and I are engaged in a conversation in pictures and it’s called Between Scarlett and Guest. Check it out.

* * *

 

CB (for John Dwyer), 2018

CB (for John Dwyer), 2018, acrylic paint and watercolour on canvas, 80 x 80 cm

This painting is dedicated to John Dwyer, multi-instrumentalist, vocalist, songwriter, visual artist and record label owner. He’s most famous for being the founding member and main songwriter for Oh Sees (AKA Thee Oh Sees, OCS, etc). I first heard one of their songs, Web, last year on Marc Riley’s 6 Music show and have become a rabid fan ever since.

The band has had several line-ups and produced a diverse catalogue of music. The following is a favourite (from the album Help) by the group which comprised John Dwyer, Brigid Dawson, Petey Dammit! and Mike Shoun:

One from the current line-up of John Dwyer, Tim Hellman, Dan Rincon and Paul Quattrone:

And finally one from the last release (as OCS). This line-up was Patrick Mullins (the band’s first drummer), Dwyer, Brigid Dawson, Tim Hellman, Eric Clark, Mikal Cronin, Thomas Dolas, Emily Elkin, and Nick Murray:

* * *

Ashley Lily Scarlett and I are engaged in a conversation in pictures called Between Scarlett and Guest. Check it out.

* * *

Psst! (Pink), 2017

Psst! (Pink), 2017, acrylic paint and watercolour pencil on canvas, 80 x 80 cm

Another of my Psst! paintings – the second to be made. The recent paintings have had a lot less colour in them…more of which soon.

Ashley Lily Scarlett and I are engaged in a conversation in pictures called Between Scarlett and Guest. Check it out.

* * *

And David Cook and I are reviewing each other’s record collections one disc at at time (very slowly). Check out Zzzounds!

* * *

David and I have also just completed an online conversation about Jasper Johns and you can find all three parts at https://londoneyeball.wordpress.com/
Painting for MES, 2018

Painting for MES, 2018, Acrylic paint and watercolour pencil on canvas, 80 x 80 cm

 

This painting is dedicated to Mark E Smith of The Fall. It was begun when he was ill and while I was working on it he died. There’s no real connection to Mark in either idea or execution (except of course that The Fall have been playing in the background since 1983 when a friend lent me Perverted By Language).

The only time I met MES was at a mini-gig at the HMV on Oxford Street in London to launch the album The Frenz Experiment. The group played a short set and then sat behind desks signing albums for the fans. Mark was friendly and polite (which was a surprise given that the music press portrayed him as a kind of fierce, cantankerous despot).

Over the years I’ve grown to love The Fall and Mark’s gnarled, dazzling poetry – from their first album, Live At The Witch Trials (1979) to their last New Facts Emerge (2017) there have been very few duds (although if you’re thinking of collecting their albums, steer clear of the live albums and compilations until you’re well and truly obsessed). And Mark E Smith went out as brilliant as he came in – the final album’s a stunning culmination, along with Sublingual Tablet (2015), of his work with Dave Spurr, Keiron Melling, Peter Greenway and Elena Poulou – a golden run of albums that started in 2008.

When I’m dead and gone
My vibrations will live on
In vibes not vinyl through the years
People will dance to my waves

Mark E Smith, Psykick Dancehall (thanks to The Annotated Fall)

If you are interested in learning more about The Fall a great place to start is The Fall Online Forum.

* * *

Ashley Lily Scarlett and I are engaged in a conversation in pictures called Between Scarlett and Guest. Check it out.

* * *

Psst! (Brown), 2017

Psst! (Brown), 2017 Acrylic paint and watercolour pencil on canvas, 80 x 80 cm

Another Psst! painting. This one’s slightly different in that it includes some objects not found in the street: ship figureheads from a display at the Cutty Sark in Greenwich. The rest is the usual mix of discarded bags and bits of paper and paint marks photographed around London.

Figureheads at Cutty Sark

Scrape

* * *

Ashley Lily Scarlett and I are engaged in a conversation in pictures called Between Scarlett and Guest. Check it out.

* * *

David and I have also just completed an online conversation about Jasper Johns and you can find all three parts at https://londoneyeball.wordpress.com/
Psst! (Black), 2017

Psst! (Black), 2017
Acrylic and watercolour pencil on canvas
80 x 80 cm

Another of my Psst! paintings. Working on this prompted me to explore a predominantly monochrome palette, which I’m still doing…more soon.

Ashley Lily Scarlett and I are engaged in a conversation in pictures called Between Scarlett and Guest. Check it out.

* * *

And David Cook and I are reviewing each other’s record collections one disc at at time (very slowly). Check out Zzzounds!

* * *

David and I have also just completed an online conversation about Jasper Johns and you can find all three parts at https://londoneyeball.wordpress.com/

Walk Upright digipak coverWalk Upright CD

Walk Upright

Walk Upright Cover

Pierrot, 2015

Pierrot
Digital Construct
Dimensions variable
2015

It’s arrived! And it sounds fantastic! Great self-titled debut album by Walk Upright (Instagram: @walkupright.popband ), which is released 22nd June on Gare Du Nord Records (Instagram: @garedunordrecords) in the UK and Djummi records in Germany. Walk Upright are will be launching the album with a live performance at The Betsey Trotwood, London, EC1 Friday 6th July. You can preorder a copy from https://walkupright.bandcamp.com/.

The cover features a crop of a digital construct I made in 2015 called Pierrot (the original’s just above) and also features my portraits of the band.

Part three of a conversation about Jasper Johns with David Cook

London Eyeball

key 50 Jasper Johns: ‘Fools House’ (1961-2)

A couple of months ago Richard Guest and I visited the Jasper Johns exhibition ‘Something Resembling Truth’ at the Royal Academy in London. Then we exchanged emails about it, and this is the result.
* * * *

Richard:
Those are great quotations; I think he’s being honest, and they explain the work’s strength and its durability – the paintings have no fixed meaning and Johns never sought to impose one. I like the idea that the artist paints, writes, draws, records etc in the way they are able, because they have to (get something out there).

Yes, I think the key to the work’s appeal is its sensual quality – the images are seductive, in part because of their texture, because the hand of the artist is visible. And the tension between the concept and Johns’ intuitive delivery…

View original post 685 more words