Landscape study (171119), digital composite, dimensions variable, 2019

At the moment I’m working with tensions – painting, drawing and digital constructs are feeding into one another with no clear path as to which is the dominant or most important form.

T-2, acrylic paint on paper, 42 x 29.7 cm, 2020

T-2 shot here on our beaten up old dining table. With source drawing below.

Sketchbook page, pencil on paper, 2019

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If you are interested in seeing more digital constructs and paintings as well as street photography (including portraits), visit my Instagram here or my website here.

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Street Portrait (for and of Timothy Block), 2020

I’ve been very lucky in January – I ran into Timothy Block the day after meeting Rakia. Tim and I had a chat and I took a couple of shots. This is the second portrait and my favourite. Thanks very much Tim!

Tim is an actor and film maker.

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If you are interested in seeing more street portraits, digital constructs and paintings visit my Instagram here or my website here.

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Winter I, digital construct, dimensions variable, 2019

Winter I (above) is another of the new digital constructs I’ve been working on. I’m having fun with their evolution – more posts soon – and at the same time have started working on paintings that have the shape of landscape as their starting point (T-1 pictured below on our knackered dining table).

T-1, acrylic paint on paper, 42 x 29.7 cm, 2020

Again, more to come…

The Paul mentioned in the title below is Paul Letchworth, a painter I was on Foundation with way back in the mists of time – his work’s lovely and you can see it on his website here. Hello Paul!

Landscape study (281119) for Paul, digital composite, dimensions variable, 2019

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If you are interested in seeing more digital constructs and paintings as well as street photography (including portraits), visit my Instagram here or my website here.

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Street Portrait (for and of Rakia) #1, 2020

One of the great things about 2020 so far is I seem to have rekindled my interest in photographing people. An even greater thing is that I ran into Rakia yesterday.

We made 8-10 shots together around London Bridge and these are my favourites…

Street Portrait (for and of Rakia) #2, 2020

The photographs work as well in colour as they do in black and white. But I tend to favour the monochrome.

Street Portrait (for and of Rakia) #2 version 2, 2020

You can visit Rakia’s Instagram here: @rakiamoctar

Thanks very much Rakia!

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If you are interested in seeing more street portraits, digital constructs and paintings visit my Instagram here or my website here.

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Street Portrait (for and of Yozmit), 2013/ 2020

In the last few days I’ve been experimenting with converting portaits I originally presented in colour on TFIPM to black and white. This was partly to test Ted Grant’s adage. Above is the new processed main portrait of Yozmit, and below the original.

Street Portrait (for and of Yozmit), 2013

Back in 2013 I must have preferred the colour version as a true representation of Yozmit’s style. Today I like the inkiness of the new version.

The original post featuring Yozmit can be found here.

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Landscape study (271019), digital composite, dimensions variable, 2019

Around 2013 I wanted to show my portraits alongside abstract paintings. For all sorts of reasons (one being I didn’t know that many abstract painters) it didn’t happen, so I started trying to imagine and make the kind of abstracts that might work with street portraits. Seven years later, I think I’m beginning to find stuff.

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Untitled painting sketch, 2019

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If you want to see other work, visit my Instagram here or my website here.

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Living in the Gaps (Landscape study), digital construct, dimensions variable, 2019

As some of you may know, I’m a fan of the group, The Fall, whose chief creator Mark E Smith sadly died in January 2018. This post is named after a 7″ single which was released by the group in 1982. The image above has nothing to do with The Fall, except I suppose tangentially – I’ve listened to them so much their aesthetic must have seeped into my process somewhere…

The painting below on the other hand I did “for MES” – it didn’t start out that way, but it as it neared completion it seemed to fit…anyway…

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

Diary Images

Spend so much of my time looking down nowadays…these were both taken in London in the first week of the year.

3rd January 2020
3rd January 2020

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Patti Fogarty

I’d like to dedicate this post to Patti Fogarty, who was a brilliant street photographer, portraitist and blogger (and one of the first people I “met” on WordPress). Her photographs were really something else – a celebration. I miss them and I miss her presence online. There’s a very nice tribute to Patti on Monochromia and you can see her work on her blog Nylon Daze.

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If you want to see other work, visit my Instagram here or my website here.

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Landscape study (101119), digital composite, dimensions variable, 2019

Happy New Year to everyone who has supported TFIPM by reading, liking or commenting!

The intention for 2020 is to make this blog more like an online sketchbook, so along with the finished works and art conversations with David Cook, I’ll be posting ideas, sketches, diaristic photographs and portraits. Not sure of the exact format, but here we go…

The above is another example of my renewed interest in digital work – I seem to have strayed into the landscape format good and proper. There are paintings in the works as well.

In the meantime, here are a couple of photographs from just after New Year in Brighton, UK…

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If you want to see other work, visit my Instagram here or my website here.

All best wishes!

Landscape study (051119), digital composite, dimensions variable, 2019

A couple more examples…in a break from using images of Dorset, the background of the second image is Croydon Road Recreation Ground in Beckenham (where David Bowie performed at the Beckenham Arts Lab Growth Summer Festival in 1969).

Abandoned Bandstand, digital construct, dimensions variable, 2019
Attempt, acrylic on canvas, 90 x 90 cm, 2019

For the next paintings I tried to move as far away from imagery as possible – where a shape suggested an object I painted it out, and waited for other shapes to suggest themselves. The idea was to make paintings which did not reference anything except the urge to make a mark and balance a colour composition.

The drawings followed a similar pattern.

And became a more regular output. For all sorts of reasons I needed to make smaller works and started thinking again about digital constructs…

Landscape study (241119), digital composite, dimensions variable, 2019

More in the next post…

Painting for Nikki, acrylic on canvas, 90 x 90 cm, 2019

So (following on from the last post), I abandoned the underlying image in my paintings and improvised. It was a very different approach – more about colour composition and instinct. Painting For Nikki was the first to be finished.

At the same time I pretty much abandoned the digital composites and started drawing…

Magic Hand, pencil on paper, 2019
Magic Hand II, pencil on paper, 2019

More in the next post…