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.

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

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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/
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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.
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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…

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The second part of a conversation with David Cook about Jasper Johns…

London Eyeball

key 233 Jasper Johns  ‘Flag’ (1958)

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. 
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Richard:
I think the subjects are very specifically chosen – they have deep roots in the Western psyche – a target is for shooting at, so we think about the implications of that image; numbers underpin our lives and shadow our activities in all sorts of ways (data, economics etc), maps and flags signal ownership of land. These objects are all so much a part of everyday existence for so many people that they are taken for granted, but they hold fundamental meaning – road signs, logos, labels are ephemeral by comparison. So, I wonder whether Johns used the maps, flags, numbers…

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David Cook and I have been to another show. Please click through to read more…

London Eyeball

 

key 10 Jasper Johns: ‘Target‘, 1961

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.
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David:
When we arranged to visit this show, I confess that I was doing it out of a sense of duty rather than because I thought I would enjoy it. It was a show that I thought I ought to see: a definitive survey of a major artist. Johns is an iconic presence in the art of the last hundred years; but I thought his work was a bit dry, a bit ‘correct’ and he was not necessarily among my favorites. I certainly didn’t have that sense of rock star excitement I had when I was going to see Jackson Pollock, Picasso or Kiefer. I…

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Psst! (Blue), 2017

Psst! (Blue), 2017

Acrylic and watercolour pencil on canvas

© Richard Guest, 2017

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Psst! (Orange), 2017

Psst! (Orange), 2017

Acrylic and watercolour pencil on canvas

© Richard Guest, 2017

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Psst! (White), 2017

Psst! (White), 2017

Acrylic and watercolour pencil on canvas

© Richard Guest, 2017

 

Three of six paintings from 2017 – they are all 80 x 80cm.

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

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

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Untitled (Project Two), 2017 by Barry Comer and Richard Guest

Untitled (Project Two), 2017 by Barry Comer and Richard Guest

This image has been cooking for a good long while; Barry and I initiated our second project in September 2015…and finally, here’s the result.

Our previous project started with an exchange of self-portraits, and through a game of exquisite corpse in which each of us added and subtracted elements, resulted in two distinct images. For project two, we decided to follow the same procedure, but make the end result one image. And kicked things off with a still life…

Here are some of the intermediate stages:

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This is a project by Barry Comer and Richard Guest.

Barry and I have never met in the physical world. He is based in Louisville, Kentucky and I live on the edge of London. I have long admired his drawings. So I jumped at the chance when Barry suggested we work together.

 

Garden, Garden 2017– Garden, Garden –

Acrylic on Canvas, 2017

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This post is for Barry Comer – get well soon, my friend.

Haven’t looked at this painting for a while – my one question about it is whose bottom is that?

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Just a quick note to say thanks for all your views, likes and comments this year – I’ve been a bit inactive online, but am going to try and catch up with everyone soon.

In the meantime, Happy Holidays! Onwards! Have a great 2018!

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

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

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…Time flies…David Bradley was brilliant as William Hartnell (in 2013! See below), and he’s back as the first Doctor in the 2017 Doctor Who Xmas special…This one’s for Richard Cooper-Knight…

The Future Is Papier Mâché

Street Portrait (for and of David Bradley) #1, 2013

Today, I went out with the express intention of shooting some portraits. There was a chill in the air, so most people were bundled up in scarves, hats, thick coats. So, all but invisible; I was just giving up hope of taking any shots at all when I spotted a very dapper gentleman crossing the street. I tailed him for a bit and then asked him if I could take his portrait. It was only when I asked his name that I realised who he was.

Street Portrait (for and of David Bradley) #2, 2013

You might know David Bradley as Argus Filch from the Harry Potter films (2001-11), or as Walder Frey in Game of Thrones (2011 and 2013), or perhaps King Lear at the Royal National Theatre (1991) for which he was awarded the Laurence Olivier Award. The list…

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Part three of my recent chat with David Cook. Click through to read…

London Eyeball

nullSchool IV -Barracuda under Skipjack Tuna, 1978

Part Three of my conversation with Richard Guest about Michael Andrews.

Read part one here & part two here!

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David: There were a number of large underwater paintings of fish swimming in the upstairs galleries. I was wondering how they fit into this…fish are potentially a banal subject. Obviously there is the parallel of floating, and a kind of luminosity to the surface and again the ambiguous relationship to photography. What do you make of them?

Richard: The fish paintings really do look like nothing so much as pretty paintings of fish. I’ve been staring at the painting above for a while and I’m getting nothing else from it. It’s very relaxing – like a fish tank. I feel distanced from the subject matter and it holds little to no meaning for me in art…

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