Tin Toy #1 (2021)


I was struck by the folksy, pop-culture qualities of Herzog’s dancing chicken – our prompt for The Kick-About No. 33 – and I was keen to investigate the movement of these performing animals too. The rather forlorn spectacle of these animals, in boxes, existing to entertain through repetitive actions, got me thinking about mechanical toys, so I acquired a mass-produced tin toy clock-work chicken and set about trying to capture its efforts to entertain me in the form of a series of long-exposure photographs. I tried a bunch of stuff – different exposures etc – and really enjoyed the unpredictability of the process, not least the waywardness of the clock-work rooster itself. Ultimately, there is something inescapably comedic about chickens, though I loved the way the object itself was effaced by some of the longer exposures, becoming something dreamier, ephemeral and odd. Suitably inspired, I turned my attentions to some other tin-toy birds I’d sourced, and soon kicked-off another series of photographic investigations, the results of which will follow on here over the coming days.



The Kick-About #33 ‘Herzog’s Dancing Chicken’


After the epic, panoramic, and impressionist works riffing on Rutenberg’s Low Dense, I’m delighted to present an all-new showcase of work inspired by the improbable, homespun spectacle of Werner Herzog’s dancing chicken. (That’s not a sentence a person gets to write every day!). I’m delighted too to welcome some new kick-abouters into our midst, creative power-couple Chris Rutter and Evelyn Bennett. Welcome both, have fun!


Chris Rutter & Evelyn Bennett

“We have made a cut up poem from the words of the last scenes in the film. Dance, fuckers, dance!”


rutterandbennett.com / instagram.com/rutterandbennett


Emily Clarkson

“I was a bit bamboozled by the dancing chicken clip from ‘Stroszek’ having never watched the film. So I opted for some zany, silly visuals, featuring the chicken, duck and rabbit! I call it ‘Head Banger Stroszek.’


instagram.com/eclarkson2012 / twitter.com/eclarkson2012 / linkedin.com/in/emily-clarkson


Jan Blake

“I’m still wallowing in bright colours this time. So with that in mind, and the craziness of dancing chickens, I came up with this. You are invited to the ‘Chicken Coop WOOP WOOP Disco’.”


janblake.co.uk


Graeme Daly

“I was drawn to the stage, the colours and of course the funky chicken!”


@graemedalyart / vimeo.com/graemedaly / linkedin.com/in/graeme-daly / twitter.com/Graeme_Daly / gentlegiant.blog


Kerfe Roig

“I first decided to draw while watching the video on a roll of rice paper that I had. This was a fun exercise, worth thinking about for other videos in the future. Then I did some monoprint outlines, based on those sketches. I tried to monoprint color on top, but that was not as successful, so I improvised with paint. Only the chicken with the blue background did not have a printed outline, it was all drawn in neocolors. There is no cohesiveness to this week’s work, but chickens are endlessly fascinating to draw. So maybe that’s the take-away.”




kblog.blog / methodtwomadness.wordpress.com


Francesca Maxwell

“I love the dancing chicken. Never would I have thought… Funnily enough, I am just painting a rooster, even if its meaning is a bit of a departure from the prompt. It all started from various kick about prompts actually, tree of life, symbols etc. Here is a bit of my tree of life, more like a climber really, with roots in the sea going up in a dreamy night sky, and my rooster daughter (by the Chinese horoscope), perched on it. Looks like a rooster singing to the moon now.”


www.FBM.me.uk


Marion Raper

“With this task I found myself in the realms of abstract again and fancied concentrating on the marks made by the chicken as it scratched and danced about. I decided to crochet the shape of a chicken, duck and rabbit footprint and stick them onto pieces of card to use as stamps. Next I used acrylics to paint the background and added some contrast printing using recycled packaging. After this I just proceeded to enjoy myself with ‘chicken foot ‘ stamp to make a happy dancing type of pattern. In fact I think there is actually a dance called Chicken in the Straw – so I have renamed this painting ‘Drunken Chicken in the Straw’. Plus had to finish with a little chicken quip – ‘I dream of a better world… where chickens can cross the road without having their motives questioned!'”




James Randall

“I was a bit focused on other little projects – though chicken dance was lurking in the back of my mind – originally I was contemplating an image of someone crossing the road, lost battery chicken-like in their smart phone. My final offering quickly took off from a couple of weird things I did and the news feeds bombarding us in Australia on the delta variant, to the point where it feels like we never had alpha at all and that delta just appeared out of the ethers. We Australians really have ourselves to blame for not deciding to bite the bullet and take the not best option astra zenica for delta’s current launch in Sydney. Anyhow, my attempt at a voodooish/distressed thought-bubble.”



Phill Hosking

“This scene really drew attention to just how bizarre a chicken really is, dancing aside. I realised I’d never really studied one before. Great opportunity to do so, so I took a tonne of screen shots from the film and picked some charismatic head shots. Getting to grips with the mixer brushes in Photoshop now, almost tailor made to paint fur and feathers.”


instagram.com/eclecto2d linkedin.com/in/phill-hosking / phillhosking.wordpress.com


Tom Beg

“I think Werner Herzog used the dancing chicken as some kind of bleak metaphor for the tackiness and the emptiness of modern life at the time. Personally, I wanted to elevate the chicken to something more elegant, while capturing its essence and joie de vivre. In the end, I settled on these black and white images, which were somewhat inspired by an encounter with a rooster and some charcoal during my college days.”



twitter.com/earthlystranger / vimeo.com/tombeg


Charly Skilling

“I got very excited when I first saw this prompt, because I just love chickens! The range of colours and patterns they display in their plumage; their ability to scuttle about very busily, and then stop stock still – like a screen freeze – before resuming their previous activity, as if nothing had happened – and the fact they combine such dignity with such comedic flair. I just love ‘em! But, I have never attempted to capture motion in yarn before, let alone dancing hens. I soon realised crochet does not lend itself easily to “action shots” so it took a lot of head scratching and moaning and groaning before I found a way forward.

I found photos of chickens running, and then got my techie friend to overlap and tessellate them. From that I tried to identify the key shapes that said “chicken”. (See attached scribbles.) From that, I decided on tail shape, coxcomb and legs, and then tried to develop those into a pattern that might suggest movement. I chose colours in keeping with the folksy, children’s story mood of the original prompt. Here are the results. Chicken Runner, anyone?





Phil Gomm

“I was struck by the folksy, pop-culture qualities of Herzog’s dancing chicken, and keen to investigate the movement of these performing animals too. The rather forlorn spectacle of these animals, in boxes, existing to entertain through repetitive actions got me thinking about mechanical toys, so I acquired a mass-produced tin toy clock-work chicken and set about trying to capture its efforts to entertain me, in the form of a series of long-exposure photographs.”




Vanessa Clegg

This was a challenge! So based solely on trailers and reviews, my imagination wandered towards Victorian anthropomorphy and the use of animals for amusement, (YouTube awash with examples), looking at the flea circus, kittens tea parties, besuited mice etc. The result? A chicken/human cross! The other image is a set up in my studio: a plastic figure picked up in the street against a favourite haunt in Greece. In Stroszek, the main character lands on a strange shore and never fully integrating, remains an outsider, wandering from place to place. It was this and a sense of the surreal that I was trying to capture.


vanessaclegg.co.uk


And for your delight and delectation, a bit more moving image by way of inspiration for our next run-around together, courtesy of experimental film-maker, Marie Menken, and her 1966 silent short, Lights. Hope this inspires some light-bulb moments of your own!




After Rutenberg #2 (2021)


The Kick-About No.32 introduced me to the paintings of American artist, Brian Rutenberg and his loose, vibrant abstracts. What followed for me was an ongoing exploration of form and colour, starting with cardboard maquettes and ending with the production of a series of abstract compositions produced by photographing the maquettes. Different installations under different lighting conditions produced a range of interesting results. This set was created by photographing the assembled maquettes through a sheet of glass, which itself had been painted with a few expressive strokes of a fat, dry brush. More to come.



After Rutenberg #1 (2021)


After the first big hit of colour, the next most immediate thing I got from Rutenberg’s painting (the prompt for The Kick-About No. 32) was its three-dimensionality, that strong sense of folded planes and faceting, as if we’re stood on the floor of some Technicoloured canyon, staring off into the distance, or more precariously, standing with one foot on either side of a rainbowed crevasse, and looking down between our feet at the prismatic chasm below. This was a vista I could feel with my fingers and I found the desire to build some Low Dense-inspired ‘chunks’ irresistible.



Fabricated quickly by folding cardboard and taping it into shape, and reaching once again for some tried-and-tested PVA goop, I whipped up some ‘Ruten-Bergs’ and then painted them up in a manner meant to emulate some of the characteristics of the painting.




That done, I pushed my Ruten-Bergs together in different configurations and photographed them in various different ways, under various different lights, until I was achieving some suitably painterly effects. I tried it lots of different ways, including photographing the Ruten-Bergs through a sheet of glass also daubed brushstrokes. Not all the resulting images were ‘on brief’, but I found some of them interesting enough nonetheless. I’ll be sharing a few more examples and different iterations on here over the coming days.



The Kick-About #32 ‘Low Dense’


From the previous Kick-About’s deep and velvety shadows, courtesy of animator of silhouettes, Lotte Reiniger, to this Cinemascopic vista of glowing, saturated colours by the painter, Brian Rutenberg, and all the new work Low Dense has inspired in the same short space of fourteen days. Enjoy the view.


Graeme Daly

“When I was an ambassador for University one hot summer, similar to the melting heat in the UK at the moment, I was tasked with taking down the graduate shows of the students that proudly presented their creative work to their family, friends and fellow students. I spent a few weeks dismantling the makeshift wooden stages, pulling out nails and painting over the brightly coloured stripes and symbols that students designed to present their work in theme with their creations.

One task I had to do was take large canvases students had painted on, and throw them into the skip near the smokers’ shed (where I spent many lunch breaks laughing and smoking my lungs out with my friends and classmates). It always saddened me to know some students would rather dump their work, no matter how large the canvas, so instead of giving them the heave-ho into the trash, I told my thrifty friends about the canvases, who happily decided to take them back to their uni homes and upcycle them to their hearts’ content, painting and drawing on them however they pleased.

I kept the largest canvas for myself. Dripping in sweat, carrying this beast down the iconic Rochester hill, I ended up sandwiching it into my tiny uni bedroom, but I never did anything with the canvas for years, which has since followed me along with two house moves. I have had ideas; I cut out all the silhouettes I kept from life drawing classes, and thought about doing a collage of all of them together on the large canvas, but never did, but I always knew I would do something with it when the time was right.

I have always loved Rutenberg’s kaleidoscope of colours, with the blocks of different variants of hues having such an immense power of depth to them. I thought it would be the perfect chance to finally let loose upon this canvas, and use the many tubes of paint I have stashed from many Christmas gifts that otherwise have been left to gather dust. I couldn’t think of any better way to spend a hot day – sitting outside in the heat with a cold beer or two, and painting away in the garden. It was a therapeutic experience to say the least. I think I may have to figure out how to make my own canvases”.



@graemedalyart / vimeo.com/graemedaly / linkedin.com/in/graeme-daly / twitter.com/Graeme_Daly / gentlegiant.blog


Vanessa Clegg

Colour: I’ve had this beautiful little pot of rouge for years and would guess it dates back to the 1930s. It’s such a vivid pink and lifts my spirits in the same way the fabric (a recent buy, reminding me of the 70s) does… a perfect zingy combination! The “rainbow” appeared on the wall of my studio: a tiny oblong of jewelled colour in an otherwise white space.


vanessaclegg.co.uk


James Randall

“Kick-About colour: I have been toying with a method for applying colour to my electronic scribbles with mezzotint filters in Photoshop. I applied it to a section of a refrigerator totem image I am continuing to work on and it seems to have worked, but you have to zoom in to see the colour which works in a kind of pointillist way without the effort. In other news, I have been short-listed for the Kilgour prize at Newcastle (in New South Wales) Art Gallery with my Isadora Duncan Kick-About painting (red jumpsuit / yellow car). It is a competition that actual artists enter so I feel quite chuffed. It’s now framed and will be couriered down to New South Wales on Friday for judging and exhibiting with the other finalists.*

*Congratulations, James!



Jan Blake

Edible colours oooooooo! I was fascinated by Rutenberg’s YouTube videos. The joy he brings to the work. So visceral as well.

This weekend, I happened to go to an exhibition at Bristol’s Botanic garden. It was showing work from a residency by Artist in residence, Alex Hirtzel, in association with biologist, Dr. David Lawson. It was called Displays Decoded – The Multi-sensory language of flowers. In part of that exhibition, the artist had explored how, scientifically, the bee or other insects see colour. For us it appears that they see the ultra violet, and radiation of heat attracts them, as bees particularly cannot feast on the flower until it emits over 30 degrees. So there are lots of them around at the moment. Making hay while the sun shines! Thinking of Brian Rutenberg, I found myself watching a bee entering the Antirrhinums on my balcony and wondered what they would be seeing or feeling within that flower that they seemed to have to force their way in. I have tried to capture some of that possibility without UV! It looks a little Georgia O’Keefe to me now. Getting into sensations and how to describe them needs a lot more exploration.


janblake.co.uk


Charly Skilling

“This painting makes me think of shanty towns, rift valleys, and the coming of night. I was interested in the way Rutenberg combines angular blocks of colour with broad sweeps of undefined colours that merge and separate. I played about with some paints and pens, but my thoughts kept turning to how I might create a similar effect with yarn. I decided to have a go. It is still a work in progress, butt here is what I have done so far. In my head, it is called ‘The Last Ray'”.




Kevin Clarkson

“I had not heard of Brian Rutenberg and the first impression was ‘Wow! Very powerful!’ So I spent quite a bit of time ‘deconstructing’ his technique. The apparent abstract nature is, of course, in reality highly stylised landscapes. If you put aside the idiosyncratic drawing style they are quite simple compositions. The cleverness for me is the use of colour; he has substituted primary or secondary colours for tone on most of the pieces, enhancing the abstract qualities. The texture and randomness is the product of palette knife work – that said, given the size of the canvases, it was more likely a large trowel!

I must admit, as a figurative painter, once I’d analysed the HOW, for me, much of the work lost some of its WOW. It’s the kind of work I have come across in large corporate boardrooms (not that I have been in that many), designed to impress or intimidate. For my pieces I took the technique I had unpicked and tried a few landscapes of my own, with very mixed results. It is one thing to understand a process but quite another to create in that genre. A lot of my work is marine in subject, so for the first piece I took an image of reflections on water and upped the colour values and worked largely with a palette knife. I think you can still just about make out it is meant to be liquid. For the other piece, I chose a lake surrounded by trees and threw away the tonal values, replacing them with primary colour. I failed to match the stylisation of Rutenberg, but I think they are just about going in the right direction.”


kevinclarkson.co.uk / artfinder.com/kevin-clarkson / kevinclarksonart.blogspot.com


Kerfe Roig

“The colors immediately made me think of Monet, which made me think of the grids I did based on Monet’s work. This is a very intense way to look at art, and I learned a lot from it as I not only did some of Monet’s paintings, but an entire book of other artists for The Sketchbook Project. The subtleties of color are amazing when you look closely at them. Rutenberg clearly has an eye for color. You can see my work with Monet here and here, and my Sketchbook Project book, Art I Like, here.”



everywhere
falls apart
mind to eyes
expanding

falls apart
becomes its opposite
expanding
into stories

becomes its opposite
days into nights
into stories
the sun intersecting the moon

days into nights
future and past
the sun intersecting the moon
enlarging the horizon

future and past
the surprise of delight
enlarging the horizon
to leave is to arrive

the surprise of delight
mind to eyes
to leave is to arrive
everywhere


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

I really love Brian Rutenberg’s painting, with its wonderful explosive colours. My own attempt at an abstract was inspired by my recent (surprise) gliding experience, and the view of the fabulous patchwork of fields below me.  I firstly made a rough sketch of my ideas and then took some prewashed pieces of crinkled cotton and stuck them onto A2 paper. After this I proceeded to add acrylics with a very large brush and just primary colours. All the while I tried to remember how it felt to skim 2000 feet up over the air currents.  I  then used a fine brush to add details of contours and rivers in contrast colours.  The thing that I found most difficult was knowing when to stop!  I mean, it’s not that easy on an ordinary illustration, but an abstract seems to have its own momentum.   Well, I finally came in to land – so to speak.  However, the painting as a whole doesn’t seem quite right.  My other half says it needs a focal point and I fear he’s right.  Ah well, here are the best bits.”



Francesca Maxwell

“This is glorious, what a great painting and a new discovery for me, thank you, Phill Hosking, an inspiration, and also a new addition to my list of abstract artists I use for my painting classes – particularly the abstract and colour courses, but also brilliant as an example for composition and depth. So this is one of my abstract paintings that deals with space, macrocosm and microcosm, more than rooted in the landscape, as I feel Brian Rutenberg’s are.” Ink on watercolour paper, 76×56 cm.


www.FBM.me.uk


Phil Cooper

“When I looked into Brian Rutenberg’s work, I was struck by the lush sensual paintwork, the bold abstraction, and the immersive scale. I was also intrigued by his limited range of subject matter, and how he explored a few subjects repeatedly, always managing to find new emotional responses. I’ve honed in on a particular landscape that I’m fascinated by; the shingle spit of Dungeness. I’ve made a few semi-abstracted images of the scrubby vegetation that colonises the shingle with Dungeness B nuclear power station looming up behind. I never tire of this place and I could explore the strange, wild landscape over and over. These images are made using the monoprint technique, with two monoprints digitally overlaid and edited to make the final image.”


instagram.com/philcoops / hedgecrows.wordpress.com / phil-cooper.com


Phil Gomm

“After the first big hit of colour, the next most immediate thing I got from Rutenberg’s painting was its three-dimensionality, that strong sense of folded planes and faceting, as if we’re stood on the floor of some Technicoloured canyon, staring off into the distance, or more precariously, standing with one foot on either side of a rainbowed crevasse, and looking down between our feet at the prismatic chasm below. This was a vista I could feel with my fingers and I found the desire to build some Low Dense-inspired ‘chunks’ irresistible. Fabricated quickly by folding cardboard and taping it into shape, and reaching once again for some tried-and-tested PVA goop, I whipped up some ‘Ruten-Bergs’ and then painted them up in a manner meant to emulate some of the characteristics of the painting. That done, I then pushed my Ruten-Bergs together in different configurations and photographed them in various different ways, under various different lights, until I was achieving some suitably painterly effects.”





Tom Beg

“Looking at the painting, I imagined that I was staring through the viewfinder of an inter-planetary rover on the surface of some dusty and rocky multi-coloured planet. With this planetary vision in mind, I explored the idea of creating computer generated ecosystems. Through multiple iterations and experimentation, it started to develop into models and images that seemed less about surface and into something more microscopic. Perhaps these could even be particles of paint magnified to impossible levels.”


twitter.com/earthlystranger / vimeo.com/tombeg


Gary Thorne

“Rutenberg has me questioning how abstraction evolves from the memory of landscape. So I set up the challenge of memory of still life inspired by his enjoyment and use of colour. Yet I could not break free from the fruit form so, more work ahead on that problem. How jealous I am of his mixing 500ml of richly colour-saturated oil to then apply it with his palm across the canvas!” 25x25cm oil on prepared paper.


linkedin.com/in/gary-thorne


Phill Hosking

“This piece started life as a digital painting, in the style of Rutenberg’s paintings. The more I’ve gotten into his work over the last few years, and as I’ve listened to him speak about his work and process, I’ve absorbed a lot of his wisdom and theory. Painting in Photoshop, from some recent photos I took on holiday in Somerset, I realised that without all the elements of thick oil paint, walnut oil, textured canvas and the monumental scale, this just wasn’t going to cut it. The sense of depth and light depicted in Brian’s work always astounds me, so I took the idea of his interplay of horizontals and verticals into ZBrush. I used the original digital painting to create the colour on the 3D. I made a rough approximation of the artist himself, just as a homage to a bit of a hero of mine, then created a tangle of intersecting forms. I encased this in a glass box to contain this in a 3D space, something the artist conveys so well on his canvases. A departure from my comfort zone on this one, another lesson learned from Rutenberg himself.”


instagram.com/eclecto2d linkedin.com/in/phill-hosking / phillhosking.wordpress.com


What I love about the Kick-About is the way in which the different prompts send us all haring off in such unexpected directions and producing work we can’t predict. I suspect our newest prompt, courtesy of Tom Beg, will prove no exception: behold Werner Herzog’s celebrated dancing chicken from his 1977 film, Stroszek




The Kick-About #31 ‘Lotte Reiniger’


Our previous Kick-About together was inspired by images of the human eye, resulting in an abundance of other-worldly imagery and one short story, in which an elderly man vanishes magically away in the middle of an art exhibition. The pioneering silhouette animations of Lotte Reiniger are likewise preoccupied with all things magical: magical lamps, magical slippers, and magical beings. This week’s showcase of artists’ work riffs on Reiniger’s unique aesthetic and narrative milieu. Happy browsing.


Tom Beg

I always enjoy looking beyond the silhouettes of Lotte Reiniger animations and into the exotic and intricate backgrounds that she made. I get a simple sensory pleasure from the illusion of depth that can be achieved in black and white, just using the basic principles of foreground, midground and background. Visualising big worlds is not something I am particularly good at, but as I started to develop these images, I couldn’t help imagine them as big structures in some vast desolate landscape, where few living things remain.


twitter.com/earthlystranger / vimeo.com/tombeg


Phil Cooper

“I live in Berlin, just round the corner from where Marlene Dietrich was born, and I’m a big fan of Lotte Reiniger and early German cinema. love the theatricality, the creativity and technical ingenuity that went in to making these animations, as well as the fairy tale subject matter.

A few years ago I was involved in creating some animation sequences and images for screen projection for a stage production of Hansel and Gretel. Lotte Reiniger’s 1955 film of the story, as well as earlier German expressionist cinema were certainly in the mix when I was making this work, and I thought it would fit the bill for the Kick-About prompt this week. I’ve included some images that were made to project onto a screen behind the performers during the scenes when Hansel and Gretel were lost in the forest.”


instagram.com/philcoops / hedgecrows.wordpress.com / phil-cooper.com


Graeme Daly

“When doing research for the Howard Sooley – Prospect Cottage prompt, I came across the inspiring work of Lotte Reiniger, and since then I have been busy cutting, glueing and making for a shadow puppet animated short entitled The Lighthouse Keeper, which centres around the peculiar landscape of Dungeness and a couple of burly blokes. Creating something for the sake of creating and figuring out the hurdles and bumps along the way is what is most enjoyable about delving into a fresh medium I have yet to attempt. The stage is now set, the characters are ready to move, the lights are on and with it, the sheer joy of seeing the cut-out shapes and silhouettes lit up, ablaze. Moving from behind the messy, makeshift backstage to the front brought the biggest smile to my face, which makes the absolute bomb site of my shrinking bedroom all worth it! I am sharing the majority of the cut-out shapes, the stage and silhouettes that will feature in the film, as well as some lighting and staging tests with the main protagonist – while I wait for the delivery for the all important light source before the real fun begins.”



@graemedalyart / vimeo.com/graemedaly / linkedin.com/in/graeme-daly / twitter.com/Graeme_Daly / gentlegiant.blog


Kerfe Roig

“I realized immediately I had seen Lotte Reiniger’s work before. It did not surprise me to hear Reiniger say, ‘I could cut out silhouettes almost as soon as I could manage to hold a pair of scissors’. Her work is, yes, ‘astonishing’. Me? I never had that dexterity, not even when young. I also don’t work in film, which was Reiniger’s medium. So how to respond to this prompt? I was going to work with simple bird silhouettes, but was unhappy with the ones I made myself. Once again, I had constructed a 3-D collage environment with cardboard pieces inside a paper bag. I decided to use photos of bird silhouettes, and hang them from strings at the top so they would move. I used circles to enclose the bird forms so I could put different photos on each side–the images would change when the dangling circles turned. Using the ceiling fan to create more movement, I began to take photos.”



that song that your words called
into my mind, that song is like
a lost world, just images
in fragments, suspended like
a raincloud without rain,
a weight that refuses
to dissipate–I can almost
feel the memory but it won’t
land, it keeps circling
through the things that aren’t
quite there–like a bird
call I can’t locate, disembodied
wings hovering invisible
inside my head


kblog.blog / methodtwomadness.wordpress.com


Emily Clarkson

“Lotte Reiniger’s beautiful silhouette works appeared to largely focus on fairy tales, so I wanted to come at it from a different angle. Taking inspiration from something short, like a poem, I delved into some of my childhood books and lit upon Edward Lear’s ‘Complete Nonsense.’  With my poem selected I created the scene with some coloured paper, and rigged up my phone for stop frame-animation. This was quite the challenge without a proper lighting set up, or the ability to ‘onion-skin’ my images, so there are some interesting colour variations caused by cloud cover and some rather choppy movements. But perhaps that adds to the charm of the ‘Young Lady of Portugal’! (Or perhaps I need some more practice and MANY more inbetweens!).” 



instagram.com/eclarkson2012 / twitter.com/eclarkson2012 / linkedin.com/in/emily-clarkson


Marion Raper

Silhouettes have been around for many years and I know that they are very tricky to work convincingly. Lotte Reiniger must have been a very clever mistress of this craft and way ahead of her time. I decided to do some cut work on the facade of a decorative little theatre and inside put a small montage – since my animation skills are nil and it uses up some of my mountain of collage papers! I’m not sure if The Owl and the Pussycat by Edward Lear is still as well known as it was in my schooldays, but its entertaining characters are great for paper modeling, plus the tiny details of jars of honey, runcible spoons etc. So now all that’s left to do is settle back and sing along – ‘The owl and the pussycat went to sea in a beautiful pea green boat…'”



Jan Blake

“I loved these early animations. So full of energy and passion. I remember the fascination I felt as a child when adults amused me by making rabbits with their hands on the walls when the sun was out, and in the evenings with little table lights. I love watching moving shadows, and when I was in Mexico there were always shadows, as there never seemed to be a day without sun. A little different here in the past two weeks, so here are a few snatched mages and sounds of PLACE. Guess the Mexican one!”



janblake.co.uk


Gary Thorne

“Thank you, Graeme, for the inspiring venture into action. Months have passed without life drawing so, the recreation ground provided observation of the figure in motion. This playful solitary kick-about prompted a series of sketches, which later, shifted to paint in the studio. Perhaps a bit of Lowry, if I may indulge myself. The second motion-based work is a spin off from the online RA Saturday Sketch Club which thankfully James Randall introduced me too, I’ve added in the mask which dates the work.” Oil on prepared paper 24 x 65 cm.


linkedin.com/in/gary-thorne


James Randall

“There is an apartment block just across the road from ours – floor to ceiling glass – a very Rear Window stage. Nice simple shapes too. And a jumping off point for fantasy and metaphor.”



Phil Gomm

“I remember the first time I watched Reiniger’s Cinderella, thrilling at the moment when we see the ugly sister cut off her own toes in order to make the glass slipper fit her foot – a reminder that fairy stories, as written originally, were hardly short on violence and darkness. Take that Walt Disney, with all your syrup! Inspired by folk-tales, and by those who live in the shadows, I’ve written my own fairy story for the Kick-About, crammed with impossible things presented as commonplace, thought probably not anyone’s idea of a bedtime story…’


You can read a PDF version here.


With thanks to kick-abouter, Phill Hosking (who has just recently started this new blog), we have, as our new prompt, a 2010 oil painting by American artist, Brian Rutenberg, Low Dense, which is just a little over four metres wide! What a welcome kick of mouthwatering colour. Have fun.



The Kick-About #30 ‘Fundus Photography’


The Kick-About No. 29 was inspired by Murakami’s description of the all-seeing moon, and this, our latest creative shindig together, has been prompted by an image of the human eye no less planetary…


Gary Thorne

“In eyeing things up, this KA drew my attention to the bees snuggling into, and reversing out of the foxgloves so, being nosey I had a peak, and discovered a tunnel of pure exotic joy with bright saturated light (optic disc) at the end of the tunnel. Taking a closer look meant later on recalling sensations, avoiding loyalty to the order of nature’s design, to arrive at – maybe the same for the bee (how presumptuous) – memory of that which came to me as a rush.” Oil on prepared paper 25cm x 25cm.



James Randall

“Dear Charly Skilling – thank you for your beautiful moon submission – enormous hugs to you and your beloved. Unfortunately I didn’t read it until after bouncing out of the kick-about gates – it would have changed my direction by 180 degrees.

The fundus spiralled me through cyclops thoughts – not wanting to approach the glaucoma too closely. I added some Royal Academy on-line life drawing, a Tasmanian beach and sky, some sea birds from Byron Bay then decided it was to be all about emotion rather than narrative and substituted the cyclops for the falling upside-down life model to get to my pic. During this process I gazed longingly at our washing machine as I removed another load and noticed the similarity between the fundus image and the inside of the machine and took a series of photos with my head and camera wedged there – the obvious ones made sense thematically but I only really like the attached blurry detail.



Phil Gomm

“I guess the first thing to establish is no actual eyes were harmed in the making of these images! I should say too, no actual eyes were photographed either. In common with these recent images, I looked to various commonplace things at my disposal and once again channelled my inner low-budget film-maker. I won’t reveal my secrets just yet, but suffice to say there is now a shortage of red food colouring and olive oil in our kitchen. I don’t think I will ever tire of the ‘in-camera’ transformations produced by light, specularity and depth-of-field, the magic that sometimes happens between the subject and the lens. I was inspired by images of cataracts and ‘damage’ to the eye (and I think, more gruesomely, by A Clockwork Orange too). This set of resulting images is but a small sample, as I did a bunch of different things over three different days. From these very biological-seeming images, things became more painterly and strange, so I’ll be sharing some more ‘fundus photography’ in the coming days. I’ve certainly been having some fun.’



Tom Beg

For these images I essentially constructed a mass of veins and vessels and trawled through dozens of randomly generated variations looking for the perfect image akin to how a photographer searches for the image of a perfect snowflake amongst hundreds of failures. I somehow managed to generate the aesthetic that I had in my mind after the first attempt, but beyond that lucky first hit I spent a considerable amount of time just staring at blurry orange images, only occasionally getting a glimpse of the things that had initially made me so excited. In a somewhat scientific manner, and after many experiments and further failures, I was able to come up with the formula and methodology that yielded more productive results. Thus was I finally able to reveal the secrets of ‘the eye‘.”



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Marion Raper

“I thought I would do a collage pattern of eye shapes, and began by sketching the outlines.   As I did this a fantastic SF story came into my mind entitled ‘Dark They Were, and Golden Wyed’ written by Ray Bradbury.  So I ended up with “Martian Eyes” which was fun to do. The background is a wax/wash and I used a combination of paper and material scraps.”



Phil Cooper

“The prompt this week sparked all kinds of thoughts, feelings and associations for me. I’m a visual artist, so the workings of the eye, and the connections between the eyes and the brain are pretty darn important, Artists have been exploring how we see things for a long time, not just how they record visual information, but how they can also play tricks, and see what is not there.

For example, before I get a migraine attack, I sometimes get visual disturbances, like veils of glowing zig-zag patterns that drift into my vision from the periphery of my sight until the cover everything. It was terrifying when it first happened, I thought I was having some sort of brain haemorrhage. And there are certain substances that can produce dramatic hallucinations that are totally convincing, but are created entirely by our minds, but the eye can see them.

I went to see an exhibition recently by Yayoi Kusama, a Japanese artist who has suffered visual hallucinations most of her life. Early on, she decided to include them in her art and they have become a signature of her work. Kusama has spoken about her wish to create work that conveys her desire to melt into everything, to dissolve and become one with the universe. Her mirrored rooms, or ‘infinity rooms’ as they’re called are particularly effective.

I’ve written a short story about a rather grumpy old man and his family who went to see the Kusama show. He’s a very imperfect man, but not all bad, like most of us, I suppose.”


instagram.com/philcoops / hedgecrows.wordpress.com / phil-cooper.com


Vanessa Clegg

“This was done in response to the rise in domestic abuse during lockdown. The eye tells all.”

Watercolour on vellum. 10cm X 8cm


vanessaclegg.co.uk


Kerfe Roig

“This prompt was made for my watercolor mandalas. I did 4, and embroidered on 2 of them. I’ve included both the original and the embroidered ones.”


kblog.blog / methodtwomadness.wordpress.com


Charly Skilling

Whenever I see one of these retinal photographs, it makes me think of alien skies.  Not that I know much about alien skies, except as depicted on the covers of sci-fi paperbacks or in Hollywood’s representations.  So I decided to create my own “alien sky” with sharpies and alcohol on ceramic tile. While I was playing, I got to thinking about ‘Ingenuity’, the little drone helicopter NASA is using to map the terrain of Mars.  Here are the results.”




Graeme Daly

“I just really wanted to do some digital drawing, I haven’t done much of it lately and I miss how relaxing it is to put some jazz music on, get in the flow and let the lines go where they may. Picturing different landscapes centred around the fundus photograph, a sprawling metropolis materialised, with vivacious characters and stories between them, feeling so close but far away.”


@graemedalyart / vimeo.com/graemedaly / linkedin.com/in/graeme-daly / twitter.com/Graeme_Daly / gentlegiant.blog


Jan Blake

“I know this orange orb from personal experience. It unnerves me and intrigues me at the same time. A tricky subject for me from a very early age.  I became a pirate at 4 with a constant patch over one eye that made my ‘lazy’ eye do a bit more work. Why am I lazy? I queried. Banned from games requiring throwing a ball. I saw two and had no idea which one to catch. At 8, I started putting lions in cages. I hate zoos. Terrified of balls coming towards me. Fascinated by cages and getting out of them. Set caged birds free.”



“Ah, the joy of that tiny piece of plastic. The contact lens! Free at last to see clearly, use make-up, change hair styles, join the world. My eyes did not agree and rebelled years later, after I had often rammed them back in my eyes with grit and detritus just licked off, as there was nowhere to rinse them up mountains in deserts. The dreaded Orange orb showed a bump that was dangerously close to detaching the retina of my right eye. The bump caused a sentence to dip in the middle on the screen or whilst reading a book. Back to wearing glasses despite trials with soft lenses and many a red eye, and now spiders appearing across my eyes! Back in my cage.”



“So why this lengthy preamble? It could have been much worse. I am obsessed with fencing and seeing through. The lion is sleeping, He has left the cage. The cage has transformed naturally.”



Watching dancers and working for 25 years to understand the body in movement through the Feldenkrais method (Awareness through movement), I understand and feel the natural combination of the spiral of movement from the eye to the feet. It reminds me of twisted fencing that often crops up in my work and connects me to the natural world to which we all belong.”


janblake.co.uk


Emily Clarkson

“Having googled what fundus photography actually was, I realised I was vaguely familiar, as a long-time glasses wearer. Needless to say I was drawn to visually representing my experiences. My most prevalent memory (since I was about 5 years old) is of the ‘balloon machine.’ A standard test in most eye examinations: the grainy image of a distant hot air balloon against a blue sky, blurring and refocusing, is a distinct childhood memory. Plus, the unique set of noises the machine would emit as it altered the focus. It sounded a lot like an antiquated printer. Going beyond the physical tests I’m fairly familiar with, I looked into more metaphorical representations. Fundus photographs show networks of blood vessels. Leading me to networks of nerves, images being processed and the like. So I envisioned snap shots transitioning from one to the next with the blink of an eye!”



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With thanks to regular Kick-Abouter, Graeme Daly, we have our brand new prompt, the work, life and times of German animation pioneer, Lotte Reiniger.



The Kick-About #29 ‘The Moon Did Not Answer’


Our last Kick-About together was inspired by the lunar-like landscape of Dungeness beach and Derek Jarman’s Prospect Cottage. This week’s creative run-around-between-friends is inspired by the actual moon, or rather by Haruki Murakami’s evocative description of its silent, watchful orbit…


Vanessa Clegg

“I won’t over explain this, so it is what it is: the human need to control the natural world, and the eye in the sky bearing witness. (Moths were already dead)”. Moon and pinned moths. 2’ X 2’. Graphite, oil paint and pinned Moths on Gesso.


vanessaclegg.co.uk


Tom Beg

“It is usually thought of that our humble moon is essentially a big dead rock in floating in space, but I have always liked how Murakami imbues the objects and places in the lives of his characters with surrealistic life or uses them to communicate something from other strange and unseen worlds. Perhaps in our world, the moon might just appear to be a a big dead rock in floating in space, but in Murakami’s world things are always saying something, even if they are silent.”



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Marion Raper

I used Yupo paper and acrylic oils to produce the marbled background for this picture. For the earth and moon I used tissue paper and water colours. Really not much more to say except I am intrigued by 1Q84 and feel I must make an effort to read it, although 3 volumes is a bit of a tall order for me!”



Francesca Maxwell

“Inspiring prompt, this Murakami extract about the moon, so much could be done. Here, I wanted to catch the stillness of the moon, beautifully conveyed in the novel, with the perpetual action and energy of the cosmos around it, and particularly on Earth. The painting started originally as a “calligraphy”, expression humanity and history, then all the movement and happenings over time as creative chaos. The “moon” with her round shape, so self-contained and seemingly detached.”


www.FBM.me.uk


Kerfe Roig

“I’m always photographing the moon. I decided to go through my archives and make some postcards from some of my pictures. The results proved to me, once again, that if you take enough photos, some are bound to look good. I then consulted with the collage box Oracle. The Oracle knows the moon well.”


kblog.blog / methodtwomadness.wordpress.com


Phil Gomm

“I think this is probably an instance wherein the methodology behind the images is ultimately more arresting than the outcome itself, but having tasked myself with the challenge of trying to recreate the silent surface of the moon under largely straightened circumstances, I ended up working with some very earth-bound materials – principally, eight bags of plain flour, a plastic spatula for contouring, and three big glass paperweights!”



Graeme Daly

“I feel like with the words of Murakami, the moon has an element of ominous brooding and a spark of stoicism at remembering what used to be. The light I am capturing with these long exposure shots, which rim the highlights of ornate wood panelling and makes the hard wood floor sing with colour, makes me wonder who used to reside in this old house previously? Who wandered through the hallways? Who ran their fingers along the wood panels? Who tended to the rose gardens? Who hung up all the photos that still have a small circular imprint on the ancient stained walls? I imagine the original family in black and white or faded sepia, posed on an old chaise lounge, looking dapper but serious. This old creaky house with its not so glamorous leaks and constantly breaking faucets still has so much charm to it, bursting with history as high as its ceilings. The mammoth floors above us are now converted into flats, but one wonders how it all looked in its original form? How would the moon have shone into those vast rooms above me? I can only fantasise.”


@graemedalyart / vimeo.com/graemedaly / linkedin.com/in/graeme-daly / twitter.com/Graeme_Daly / gentlegiant.blog


James Randall

Once again I appreciated Gary’s KA topic. Very evocative. I made a quick sketch as soon as I read the passage, but it has been quite a long process evolving this into a submittable form. I created several moons with face and/or textures before finding Nasa’s library of images and finally trying to recreate a moon in Illustrator (why didn’t I just use the original photo I ask myself – well I try and justify it with ‘it better fits stylistically with the rest of the image’.) The Earth (temptation) was originally going to be a simple arc containing temptations. It evolved with more Nasa pics, before it was abandoned for type and amorphous shapes with tangled line work set in a frame that pulls/clutches at the moon, and the sheer curtain acting as a barrier to the earth’s attraction. In amongst this, one sunny morning, I spotted some very attractive light and shadows on my glass-topped table around a full moon-shaped ring of water, which probably fitted the text better – anyway they are both here.



Charly Skilling

“As soon as I think of the distant moon, I think of this one moment, which changed my way of thinking, so I thought I’d share it.”



Phil Cooper

“Moons have appeared often in my work, usually over a landscape scene. I’m drawn to the more transformative atmosphere of twilight and moonlight; the appearances of things change, shadows thicken, possibilities open up as less detail is described, and the mysteries of night hold sway. This is a collage I made earlier in the year that seemed to fit the brief this week. A huge full moon hangs in the sky, illuminating a couple who are toiling their way up a path to a lighthouse – to what end we’ll never know…”


instagram.com/philcoops / hedgecrows.wordpress.com / phil-cooper.com


Gary Thorne

“Warm Italian summer evenings, with a moon-filled sky, a handful of Peroni, a couple of friends and that simple pleasure of stripping off. Memory is a fine thing yet, with the weather improving, temptation is at it again so, may not be long before it’s time to escape the constraints.” Oil on prepared paper 50×57 cm. 


linkedin.com/in/gary-thorne


And from one all-seeing orb to another – see below, our new prompt courtesy of Kick-Abouter, Charly Skilling: