I have just finished my painting The Gleaners, complete with a figure bearing a striking resemblance to the The British Prime Minister Liz Truss. The paint has barely dried, and now I’m worried that she won’t be in office by the time I get to show the painting to the public.
The 3rd November. That’s the opening night of Cluster Contemporary, when I get to reveal it to the public. I would put money on her being deposed before then. Oh well.
I had the same problem when I featured Boris Johnson in a recent painting.
detail from Men Wrestling, with Boris Johnson and Macron, both in theatrical attire.
Boris Johnson’s dethroning was a long drawn out affair. That won’t be the case with Liz Truss. And also, I was not that worried about Johnson no longer being PM, as he was such a high profile figure, people won’t forget him in a hurry. Unlike Liz Truss.
A gallery owner once warned me that some of my paintings would have a limited shelf life, because of my inclusion of public figures. They were referring specifically to my painting Alleged Assault on Pax by Mars, with Biden and Trump.
Alleged Assault on Pax by Mars
Well, they may have a point. But I am producing these works because they are about subjects and themes I feel very strongly about: War and peace; Post Truth; social inequality. They don’t get much bigger than that. We are living in a tumultuous time, and the rapid changes at the head of the British government just reflect that. So bring them on. Whoever is next, I’ll have my paint brushes ready.
I will be showing my most recent paintings at the Cluster Contemporary Art Fair in London, early November. One of the paintings that I am keen to show is The Gleaners – a work in progress, shown above. I hope I can finish it in time. You can learn more about it here. The other two paintings that I will have on display will be “Alleged Assault on Pax by Mars” and “Men Wrestling”. Both very topical during this time of increased tension, and war in Ukraine.
detail from Alleged Assault on Pax by Mars, with preparatory sketches.
The photo above shows sketches for the three figures behind the sofa, who each represent an archetypal modern woman (two of them are based on Madonna and Marilyn Monroe). It might give an idea of just how much preparatory work goes into these compositions, with each figure requiring a separate sitting and preparatory drawings.
detail from Men Wrestling
It’s always nice to talk to people about my work, and to see people’s reactions. The fair runs from 4th-6th November. I’ll try to get along on most days, but if you’re planning a visit, send me a message, and I will make sure I am there.
I’m having some problems with my painting The Gleaners, and am looking for a suitable life model to help me finish it – someone with a slightly haunted look would be ideal. The Gleaners is a composition loosely based on Millet’s painting of the same name, and also borrows a lot from Mr and Mrs Andrews by Gainsborough. It is a painting about social exclusion and inequality. It is a painting for our times.
I’m happy with how I’m assembling the cast in the background…..
… but I am having a few problems with the foreground figures – the “Gleaners”.
I have adapted my working methods for my latest paintings. In the past I would have a model pose for every single figure in a composition. It was a frustratingly slow and very expensive process – every time I wanted to adjust one of the figures, I would have to find someone to pose for me again. Because my recent paintings have included a growing cast of public figures, including politicians and royalty, I have obviously been unable to arrange personal sittings with them, and have instead had to search for reference material in the public domain. That has gone surprisingly well. Public figures are clearly fond of having their photos taken, so there is a wealth of material to draw from. No, the problem has been with my foreground figures.
I had the idea of using a creepy old film still from the film “The Shout” as the reference for one of the gleaners. I wanted my gleaners to be emaciated figures desperately scavenging for scraps in an arid landscape. Try as I may, I can’t get it to work. I can’t “glean” enough information from the old B&W shot, and I’m thinking that the emaciated look is unnecessary and a bit clumsy. So I decided to rework the poses, and I am now looking for someone to pose for the front three figures in my painting. This problem got me thinking about my working methods, and how they have changed over the years, as my studios shrunk along with my savings. I shudder to think of how many sittings I arranged when I started the Feast of Venus.
preparatory drawings for Feast of Venus
That particular painting was an epic fail on my part. It was painted in response to an invite to participate in an exhibition. Sadly I missed the deadline by about six months, and haven’t had any good opportunities to show the painting since. Sadly this experience has discouraged me from developing some of my more ambitious projects. I learned a lot about the technical challenges in creating a larger composition with multiple figures, but the main lesson was that I have to complete paintings within a reasonable timescale, especially when I have a deadline to meet.
This is a photo of my latest work in progress. When I moved to Ramsgate I had the idea of painting a series of portraits of Ramsgate artists. I thought it would be a good way of introducing myself to the local artistic community, I could promote my portrait work, and I might find some interesting subjects. So what happened? I had a run of four commissions which seem to have taken as many months to finish. Good for the bank balance, but not so good for this particular project. And then I got covid, which seemed to linger forever. I lost my studio, and then I sold my boat and moved away from Ramsgate. Oh well.
The sitting took place in November last year. Fingers crossed that I can finish it soon 🙂 The sitter was Ramsgate composer and sound artist Emily Peasgood. She is an amazing artist and I was so pleased that she found the time to sit for me. You can check out her work here: emilypeasgood.com
I recently came across a call for artists for The Art of Grieving exhibition in 2022. This immediately caught my attention and I sent them a photo of the above painting. When they asked for “a description of the circumstances in which it was created or the inspiration behind its creation” I sat down and wrote the following for them:
I lost my partner Veronica to a long term illness on Christmas Eve 2009. What I remember most from the period leading up to Veronica’s death, apart from the constant state of physical and mental exhaustion, was the increasing sense of loneliness, as friends called on us less frequently and we slowly withdrew from the world. After her passing, there was just this dark void – a sense of emptiness. For a few months I felt compelled to paint her. I was trying to preserve my memory of her before it faded; I have never worked so hard. I completed three paintings, and then felt myself falling into the void again. I started this painting, but didn’t manage to finish it before I gave up painting. It was a few years before I returned to painting, but it wasn’t until 2019 that I felt able to return to this particular painting. It only needed a few touches to finish it. It had been finished all along, it was just that I had not been able to look at it for all that time.
I was surprised at just how upset I became in trying to recall that period over ten years ago. It got me thinking about that dark time in my life; how I got through it and the life choices I made in the process.
Veronica
The carer. For a long while I was “the carer”. I can’t remember when this role began. It started innocently, with a friendly request by Veronica to accompany her to her hospital appointment, and then years later I had fully joined the battle. By then everything else was put aside – work, art, socialising, holidays – as Veronica and I focused on trying to get the best treatment for her illness, and monitored her declining health. And in the end, when she was less able, it was left to me alone to make all the decisions. It was scary, and very lonely. The bereaved. For the longest time I felt broken. After an initial frenzy of activity, where I finished those paintings that I had planned when Veronica was still alive, I then entered a prolonged period of emptiness. I lived on autopilot. I did not know what I was going to do, but I did know that I could not return to my old life pre-carer. All those things I had worked so hard for didn’t seem to matter anymore.
Relationships Series No.4
The artist. I remember the day that art saved me. A friend had offered to pose for a portrait, which had slowly stirred me from my stupor. But then, after I had gone to the trouble of buying a canvas and setting everything up, they casually said they had changed their mind. When I complained to them, they couldn’t understand why I was so upset, and just said “it’s more important to you than it is to me”. And that was the moment I realised, yes, this portrait was very important to me. Just the anticipation of it was exciting. It wasn’t just this portrait though. It was art. It gave me a purpose and made me feel alive again. Within a year I had thrown away my furniture to use my lounge as a studio, and a few years later I sold my house so that I could afford a studio.
