Exhibition Catch-Up

Rachel Whiteread 

I've  been in hibernation over Xmas  and New Year.  Apart from going out for dinner on Xmas day and the visit of some friends on 28th ,  we've been taking advantage of being well stocked with provisions  and not had to venture out in the horrible weather. Just as well as I've been fighting off the lurgy, going to bed early, getting up late and watching daytime TV ( loved Paddington!)  

I've been stitching on the piece ' wind me in the sea ' I started last January  (it is now a very large loop) and thinking about what I intend to do as a daily(ish) project, gathering collage  materials together, reviewing what I got out of the art courses last year. 

While excavating my studio, I realised I hadn't got round to reporting on some of the exhibitions I'd  visited.  On 12th December, on the way to Upper Street to collect my quilt after it had been returned from its travels with Knit and Stitch shows , I finally made it to Tate Britain to see the Rachel Whiteread exhibition, a fascinating exploration of negative space given form and substance. I particularly liked the works on paper, seeing how she develops her ideas and the 'bookshelves' with the details of the page edges recorded during the casting process.  

While I was in the Tate , I had a quick whizz through the 'Impressionists in London' . While it was interesting from a historical point of view, most of the art wasn't to my taste  although it  was great to be reacqainted with some of the paintings from the 'Turner ,Whistler, Monet' exhibition . 13 years on and pre-blog it remains one of those memorable exhibitions that changed how I look at thing.

The surprise was at the end - a selection of vibrant  paintings by Andre Derain paying homage to Monet  choosing the same motifs . I'll definately go back to have a closer look , I remember being blown away by his paintings  at the Courtauld in 2006 

Andre Derain 'Barges on the Thames' 

Thames barges mean so much more to me now having lived in Brentford   and seeing them on the Thames  and now with 'Iron Wharf' for inspiration. I made quick notes in my sketchbook, I particularly liked  the use of primary colours  and how the mast/ sail changes from red against blue to blue against red . 

On 5 December, I combined  a ' Drawing Tuesday' visit to Tate Modern with seeing ' A Sense of Place  by View Seven at the Menier Gallery 

I particularly likes the work by Susie Koren  ( above)  and Claire Benn - I'd loved her work at FoQ in 2016  and  it looked even better in this venue . 

 Back at Tate Modern, I had  quick look round Ilya and Emilia Kabakov -' Not Everyone will be taken into the future'. Not an exhibition I would have paid to go into but  being a member of the Tate  means I try out  things outside my comfort zone 

The installations  were interesting and  thought provoking ( 'Labyrinth(my mothers album')  was quite haunting , with the collaged family photos  and  songs ) What I found most inspiring were the large scale paintings based on collage - gave me ideas about scaling up of marks etc 

This Friday, I'm making a return visit to the Scythians at the British Museum ( another exhibition I went to when I should have been drawing  at Kings Place...)

The size  and intricate workmanship of the gold belt buckles  are indeed jaw dropping  but it is the  fragile objects  including textiles  found in remarkable state of preservation in the permafrost that I'm looking forward to seeing again .

Tate Britain: Drawing Tuesday

  Last week's 'Drawing Tuesday' was at Tate Britain  where I followed the exercise we'd done there when I  visited with advanced painting group.  I concentrated mainly on work in the galleries  from  end of 19th beginning of 20th Century . Canadian  artist Elizabeth Forbes  was new to me -  what drew my eye was the interesting composition  and her treatment of  the subject matter ( we've a lot of marshes and channels in the 'land between' around here ) Although quite a gentle palette of colours, I liked the use of light outlining of dark and the brushmarks follow the contours

 Dora Carringtons' 'Farm at Watendlath'  is an old favourite , it really does capture the  Lake District , the lines of the walls and the monumental nature of the fells. It's basically a palette of greens and greys   but with strong contrasts of dark and light. The figures add a sense of mystery.

Whistlers ' Nocturne Blue and Silver  Chelsea'  was an interesting challenge in trying to analyse the colours  in such a subtle piece ( and also  a lesson in accuracy or not in reproduction) The top image is from the Tate website, the photo below what I took with my phone which show how much more varied and subtle the colours and tones were.  It  demonstrates  how important it is to see artworks in the flesh. The  bushstrokes were very evident - it looks like glazes over a darker ground  and the boat looked like paint had been removed . Lovely murkiness ! It reminded me how much I enjoyed the exhibition 'Turner, Whistler,Monet' and had me returning to the catalogue!  

 I only realised a bit later that all 3 examples I chose to examine had high horizon lines - obviously a subliminal preference of mine that I should take heed of .

After lunch in the  Djanogly café ( a bit peeved that  unlike  V&A and British Museum, you don't get a  discount in their restaurants  for being a member ) , I revisited the Paul Nash exhibition and  drew a few pieces of work, it really makes you  see what's going on.

Meanwhile,  I've finally finished painting the dining room , it looks so much lighter and  warmer (it's North facing and the coldest room in the house). I'm  pleased with my work, particularly that I haven't lost the knack with skirting boards. When I worked  in a  Youth Hostel  30+  years ago, we were closed for a month for repairs and repainting - I did miles of skirting in the dormitories, hard on the knees  with no carpet and no heating.

Inspired by Turner

 It's a while since I've posted , mainly because I'm currently doing a different kind of painting: decorating the dining room. Last weekend was spent moving heavy furniture around after reorganising the  garage  to receive some of it and find what I had in painting equipment. Turns out not a lot so a trip to Sittingbourne was required ( atmospheric  pictures from the train below). After a week of tedious prep work, I've got  2 coats of 'magic white' on the ceiling, made easier by my new favourite piece of kit  - a work platform in combination with indispensable  Ikea  wooden stool.  I rewarded myself with watching 'Mr Turner' on DVD.
On Saturday we went to John Lewis to look at replacement hob and oven ( what exciting lives we lead!)   now ordered for installation in February, then   treating ourselves to lunch at Savoir Faire. We haven't been for nearly  a year so it was lovely to catch up with Irene.
Rather than using DLR, we walked through Westfield shopping Centre to  change trains  at Stratford  which was a bit of an eye-opener . Rather more to our taste was the evening  light over the marshes  between Ebbsfleet and Rochester  ( above)

 I've been recording the 2nd floor views from our bedroom and my studio   of morning skies ( above) and  our first snow (below)

  My studio is now advancing along the corridor towards the bedroom  with the installation of a design wall . Ian is more  bothered I might fall backwards down the stairs than my encroachment.

 Had a super trip on Friday 6th with friends from CQ Kent  group to Turner Contemporary in Margate  to   catch the Turner exhibition before it closed. 

 The emphasisis was on  colour and it was  great to be reminded of  his watercolours, in particular those on toned paper . I made colour notes in my sketchbook  to remind me of the details and then searched online ( photos  below are from the Tate  resources,  easy to spend many happy hours browsing....) 


                                     

 I caught an earlier train than planned so had the opportunity for a bit of beachcombing  for stones and shells - a friendly local showed me his finds of bits of clay pipe and pottery found on the rocks ( it was a very low tide) . Mainly though I took photos ( too cold to sketch) , lots of inspiration for painting and  quilts. I'm itching to play about in Photoshop but the dining room calls- I need to finish  sanding the woodwork.

Turner and the Sea at NMM and Contemporary Textiles Fair

John Sell Cotman A dismasted Brig

 

 On Saturday, after stocking up at the farmers market, Ian and I headed off to Greenwich to see 'Turner  and the Sea ' at the National Maritime Museum. It was fun to go on the DLR , a bit like a roller coaster at times, adding to the sensation of a having a day out!   It was an interesting exhibition showing the full range of Turners engagement with the sea and all things marine, with paintings by other artists (particularly Dutch)  that influenced  him or were the prevalent style around the same time. I was  struck by the watercolour by John Sell Cotman with its distinctive broad regular washes of colour -  reminding me of the large indigo piece I'm working on at the moment .

I've long admired Turners watercolours - I've misplaced my copy of  'Hockney on Turner Watercolours ' book  but I have a quote to hand which resonates for me:
 "They're fresh because you can see how he has made them. You can sense the trace of his arm, ......painting has to be about this sense of gesture and movement, the sheer physicality of making a picture"
Makes me want to  grab my watercolours and just play with stokes and washes of colour!



JMW Turner  A study of the sea 

JMW Turner Ship at Sea 

JMW Turner Sea Piece with figures in the foreground

 

Master of invention, once others had started to copy his style, he moved on, always experimenting, carrying a lot of  the energy in his sketches to his larger oils.  It  is this  later work I really admire, with added insight after sketching  at The National Gallery .  So I look forward  to the exhibition 'Painting Set Free'  at Tate Britain later in the year.  We kept thinking of the Turner ,Whistler, Monet exhibition -  sign of a good exhibition that we still remember it 9 years on! (pre-blog days)





JMW Turner Breaking Against The Wind (oil)

 

On Friday evening, I went after work to the Contemporary Textiles Fair At Landmark Arts Centre, always a diverse  selection of textile pieces.

My purchases were relatively modest - a pair of purple acrylic laser cut earrings from Mandy Nash , although seriously tempted by the silver and hand stitched silk thread jewellery of Liz Willis.  I  spent some time talking to Lucy Ann Harding about her quirky textile illustrations based on life as a milkman's daughter and  to Anna Obese-Acquaah. I loved her complex and vibrant marks on cloth.