The Kick-About / A Second Year Later

I’m not above admitting that, just sometimes, I’ve thought to myself, “Not another Kick-About?”

Sometimes, it has felt as if my brain is too old or too stupid or simply too preoccupied with other more important things to even think about undertaking another creative brief ‘for the sake of it’. If I’m thinking this, the guy who sets the Kick-About prompts each fortnight, I’m pretty sure some of the regular kick-abouters have thought it too. Lives get busy. Lives get glum. Interest and energy wanes. The mood passes. Art is fart.

And yet, all that being true, now I’ve gathered here together a year’s worth of new work in a single place, I am reminded of the intrinsic value of ‘making stuff’ and of the power of community. There is little doubt, were it not for the examples set by all the other artists in The Kick-About, I wouldn’t have followed through on these various creative enquiries of my own. It’s quite unlikely I would have started them, and I certainly wouldn’t have finished them, finding a bunch of reasonable excuses to get on with more pressing stuff, or stuff I didn’t need to think about quite as much, or the stuff of watching television and eating bars of cheap chocolate on the sofa. But as it happens, I’ve inflated latex gloves with water to produce wobbling horrors, made moonscapes out of bags of flour, photographed tin-toy chickens obsessively, made short films, written a story about a woman with nasturtium seed for a head, encased a bunch of stuff in ice, and the list goes on – and largely because I wasn’t alone in my endeavours. Somewhere in New York, Kerfe was suspending paper fish inside a litter bin, and somewhere out in Brisbane, James was populating a primordial forest with bare chested brutes; meanwhile, Charly was crocheting a hat of fantastical proportions, Tom was configuring Saul Bass-inspired spirals out of code in Yokohama, and Gary was fashioning a Christmas tree out of hand-foraged willow and meticulous strips of calligraphic paper!

What I particularly enjoy, it seems, is the license to shape-shift in terms of creative work; the Kick-About encourages me to diversify, to jump about a bit. That said, there are obvious preoccupations – a love of in-camera transformations, what we might call ‘analogue magic’, and a preoccupation with the darker side of the human imagination. I blame the Pan Book of Horror and all those brave, strange, mean films of the 1970s.

‘Jumping about a bit’ can be confusing, so I decided to get my ‘art-house’ in order a bit by re-organising my personal website. It might not make a scrap of sense thematically, but at least it’s nice and tidy, right?

Thanks again to all the Kick-Abouters: we’ve been living through some strange rootless times, and your company and creativity has done much to keep my feet on the ground and my imagination a good deal higher up! Onwards…

You can read a PDF version here

Nasturtiums – Read by Catherine Bradley

You’ll find a PDF version here

You can find a PDF version here

Kindergarten (2022)

There are images that capture ‘perfectly’ the awfulness of conflict, and this photograph of a shelled Ukrainian kindergarden achieves just that. The juxtaposition of the colourful toys with the white blasted bricks needs no further explanation. For my part, I chose to recreate the scene using Plasticine, a medium seeking to mirror the instinctive simplicity of Maria Prymachenko’s paintings, whose exuberant folk art was our prompt for this week’s Kick-About No. 51.

The Kick-About #51 ‘Maria Prymachenko’

Following the linear, pared-back abstractions of our last Kick-About together, the folk art of Ukrainian artist Maria Prymachenko inspires our fifty-first showcase of new works made in a short time. Art, and the making of it, allows us welcome respite from what is dispiriting about world events and our feelings of powerlessness in the face of them. That said, art, and the making of it, also allows us the opportunity to say something about those same world events, and in so doing, feel a little less numbed, a little less muted.

Vanessa Clegg

“An instinctive reaction to the prompt..not overthinking just doing and ending
up with a kind of children’s illustration with a political edge.”
Coloured crayon on paper. 25cm X 42cm.

Colin Bean

“Print them out and colour in your very own folk art postcards. I used google to translate the English titles into Ukrainian, so apologies for any grammatical errors.”

Marion Raper

“I love the artwork of Maria Prymachenko – especially the vibrant colours which to me shows the happiness and love of her country. I decided to try and use some similar colours and design an animal rondelle using some of our British wildlife, and also encorporate a new technique I recently learned using ink and bleach. I have to say it all turned out not completely as intended,  but I enjoyed the process and think there may be more to come!

James Randall

“Apart from her pieces being so connected to the senseless goings on in Ukraine, Maria Prymachenko‘s works are simply beautiful – what a great kick-off point. I just jumped onto the animal theme and let it rip with some images from around the bridge I portrayed in the previous KA. We see Eastern Water Dragons here and there around the river edge sunning themselves – they are about a foot and a half long – so a dragon was an obvious animal choice. The big challenge for me was massaging a number of photos into a single image that had a sensible narrative – in my head. So it has to do with life philosophy and choice and our collective future. Got it to a point close to resolution but when you touch one thing it throws others out. If its not complete its time for a long break, and probably would benefit from being painted but thats for another two weeks! Last KA entries were so brilliant – loved having the opportunity to see them – thanks KAers.”

Gary Thorne

“KA surprises me, or maybe its the way my head works that surprises me. Three days ago my laboured outcome revealed I’d used the most banal part of my brain ,so out it went (the work)! With no time to spare, a less conscious response kicked-in, resulting in a self-portrait x-ray. I revisited Prymachenko’s paintings last week, and later on – in a relaxed state – thought of two things; the head and body often come across as disconnected and the overall impression is transparency revealing ideas within. Funny thing is, my x-ray revealed nothing of interest within. Perhaps once dry, I’ll put within a bit of angst.”

Phil Cooper

I didn’t know Maria Prymachenko’s work before this Kick-About prompt, but I’ve really enjoyed exploring her world and the strong shapes and bold colour that she uses to bring it life. Against the hellish background of the war in Ukraine at the moment, and the horrific images coming from the conflict, these paintings are bitter-sweet to look at. But their joy and energy feels defiant right now, and reminds us oppression can never win in the long run if we stand united against it.  In response, I’ve painted a sunflower seed head. The flower has finished, but the seeds are being carried away by the birds, to germinate, grow and produce more seed, on and on… / /

Phil Gomm

“There are images that capture ‘perfectly’ the awfulness of conflict, and this photograph of a shelled Ukrainian kindergarten achieves just that. The juxtaposition of the colourful toys with the white blasted bricks needs no further explanation. For my part, I chose to recreate the scene using Plasticine, a medium seeking to mirror the instinctive simplicity of Prymachenko’s paintings.”

Kerfe Roig

“I was most taken by Maria’s composite creatures, strange combinations of pattern, plant, animal, and human.” /

Graeme Daly

“I wanted to focus on Prymachenko’s bold use of vivid colour from her powerful folk art.”

@graemedalyart / / / /

Charly Skilling

“Prymachenko’s work is bright, colourful and full of life – a marked contrast to the images of Ukraine we see nightly on our televisions.  The horror and the suffering to which the Ukrainian people are being subjected is heart-breaking. It leaves me, like most people, feeling angry, helpless, fearful and full of a deep, deep sadness. The sunflower is a powerful symbol in Ukraine and appears often in Prymachenko’s work.  She also uses a red flower-shape, which, with its orange centre and sharply-defined petals, creates an explosion of colour.  I have tried to bring these images and ideas together in this week’s submission.  There are two versions, the  best of several I worked on, one on ceramic tile, which allowed the ink to flow like tears when sprayed with alcohol, the other on card, which restricted the alcohol spread and left sharper, stronger lines.”

In common with our last anniversary Kick-About, Edition No. 52 will see the Kick-Abouters select a favourite from their own works produced over the course of this second year of collective creative challenges. The big number relates to the total number of weeks we’ve been producing work together – 104.286 weeks’ worth of ideation, experimentation, doing stuff, and sharing it. I look forward to celebrating with you. Just drop me a line to let me know your choice in advance of the anniversary showcase, and likewise your reasons for choosing it, which I’ll include by way of a preface.

Throwback Friday #101 An Off Cut 2 (2017)

When you’re scrambling about in an old dark house trying to produce phantasmagorical effects on film using various Heath Robinson-style contraptions comprising light-sources and black elastic, not everything goes according to plan. My various hard drives are somewhat littered with ‘failures to launch’ – underwhelming photographs featuring unmagical moments. Some of these ‘off-cuts’ are not without interest and I return to them from time-to-time to see if the passing of time and a fresh pair of eyes can see what was missed the first time around. Usually, the answer is no, but occasionally I’m minded to dig one out, like today’s offering – a wheeling circle of light flashing into life for a short show of seconds in one of the large abandoned rooms of No. 351.

Linear Construction #1 (2022)

The Kick-About No.50 features work inspired by Naum Gabo’s Linear Construction No.2 – an elegant, near-organic sculpture in which translucent filaments combine to produce something akin to a sea-shell, seed pod or spatial anomaly. For my own response, I laced up the table-legs of a long narrow table with nylon wire and investigated the ensuing installation with my camera. With the addition of a light source, the simple construction began to produce some satisfying effects.