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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Part two of my recent chat with David Cook…please click below…

London Eyeball

Lights VII – A Shadow, 1974

Part Two of my conversation with Richard Guest about Michael Andrews. Part One here.

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David: One thing Michael Andrews does not do is clearly set out his intention. I don’t think he has a program which is one of the reasons he appeals to me. The fusion of contemporary imagery (often through photographs), with a painterly surface and traditional, directly observed drawing further masks his thought process.

The Lights series is not really a series in a strict sense, but it is linked by the balloon viewpoints. This sensation of floating above things clearly appealed to him – of apprehending a very wide and distant view with nothing in the way and having a god-like clarity.  Lights VII seems to have the composition and handling of a Rothko, and the palette and light of a Corot. Abstract Expressionism…

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

London Eyeball

Andrews, Michael, 1928-1995; The Cathedral, The Southern Faces/Uluru (Ayers Rock)The Cathedral, The Southern Faces/Uluru (Ayers Rock), 1987

Earlier in the year, I visited the Michael Andrews show at the Gagosian Gallery in London with Richard Guest. We spent the next couple of months exchanging thoughts about the show. Definitely one of our toughest assignments: here are the results!

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David: I first came across Michael Andrews’ through his Ayers Rock paintings in the mid 1980s, some of which are in this show. I didn’t know quite what to make of them, but I was intrigued and have always tried to see his work when I get the chance – not that often. This is a really great show covering his entire career – an amazing show for a private gallery to mount. It’s clearly a sign that, twenty years after his death, his reputation is at last reaching the level it deserves. For too long he has been…

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Herbert Read Herbert Read Herbert Herbert Herbert Read (II), 2016Herbert Read, Herbert Read, Herbert, Herbert, Herbert Read (II)

Acrylic on canvas

2016

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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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Mario Lautier Vella, 2017– Mario Lautier Vella, 2017 –

This was taken at Mario Lautier Vella‘s private view for his exhibition of paintings, drawings and collages, Homebodies, 7th July 2017. The exhibition’s brilliant and I strongly urge you to visit. Details below:

Mario Lautier Vella Exhibition Poster* * *

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

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The Ghost In Our Children (II) (Mummy's Boots), (1-4), 2016-7

The Ghost In Our Children (II) (Mummy’s Boots)

(panels one and two of four)

Acrylic on canvas

2016-7

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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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