The Kick-About #63 ‘Vilhelm Hammershøi’


Our last Kick-About together was inspired by continual movement and the accompanying changes of scale and perspective. This week’s showcase of new works made in a short time is, by contrast, a mediation on silence and stillness, as we explore together the hushed, pensive environs that feature in the paintings of Vilhelm Hammershøi.


Graeme Daly

“Hammershøi’s paintings feel so breathy and poetic, like you are peeking into the lives of the mysterious figures. I can’t help but think of a Victorian doll house with all its little furniture placed exactly as the collector envisions. I was initially inspired by the gorgeous light throughout Hammershøi’s paintings and awoke at the crack of dawn to capture the sun as it pooled in through the shutters and windows where the light licked the walls, doors and wooden furniture. I decided at the last minute to perch myself in areas that could resemble the people in Hammershøi’s paintings and dressed myself in a darker colour palette to match. I edited out all the ugly stuff that could resemble a modern rented house in London, including cracks and fire exit signs. Our house is very old and shows a lot of wear and tear so removing those elements was exciting to get a glimpse of probably how it once was” 


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James Randall

Hammershøi’s images can be empty and silent, but to me they overflow with emotion. Recently I lost someone very dear and, during their final days, I took a few short pieces of iPhone video of stuff around me while time passed by. In response to the prompt I added some animation and sound. The final image was taken at a nearby river – there were no cockatoos around me but the sound of flocks of them carried from far down the river to me, speaking of the greatness of nature and the precious planet we seem to be incapable of leaving to its perfect and self sustaining self.



Kerfe Roig

As so often happens, this started out as something else, but I think in the end it works well for this prompt. I wanted to do a house.  I started with a box, collaging the inside to be a dreamlike claustrophobic maze of doors and windows.  This came out very much like I imagined it.  The exterior I’m still not sure about.  Is it four alternate universes, four nightmares?  I think I need to add some text to clarify (or perhaps, confuse).  So, a work in progress.


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Marion Raper

“I love the serene  and subdued art of Vilhelm Hammershøi.  Unfortunately, this is way out of my comfort zone and I have some difficulty with the quieter colour shades and tones. However, I decided to attempt an outside view with dappled sunlight scattered across a wooden panelled house of the sort you might find in Scandinavia.  With recent sad and solemn events I found creating this watercolour had a strange calming effect  – I only wish I could have done it justice.” 



Phil Cooper

“The silvery North-European light I’m so familiar with is captured beautifully in Vilhelm Hammershøi’s paintings. I’ve been living in Berlin for the the past three years, not very far from where he created many of his delicate, luminous canvases. I love his explorations in capturing muted light, and the pared-down domesticity of his quiet interiors. They are a little too quiet for me; my home looks nothing like this; we’ve painted our walls in dark, rich colours, every surface covered in a combination of knick-knacks, plants and the mundane detritus of modern-day living. Hammershøi often used his wife as a model in his pictures, but the reflective reserve of the woman appearing in his orderly rooms is a million miles from my husband lounging around in his underpants, eating crisps and leaving crumbs all over the sofa. So my contribution this week is a sort of anti-Hammershøi. I took some photos of my husband, Jan, one morning during a heatwave this summer. We’d closed the curtains in the living room to try and keep out the heat and the space turned into a sort of exotic underwater cave, made even more mysterious by the clouds of vape-smoke Jan was breathing into the thin shafts of molten light seeping in through chinks in the curtains. I loved our living room during that period, but now, with autumn approaching, the light is turning thinner and more brittle, rather more like a Hammershoi painting – although the clutter and the under-dressed husband are still very present.”


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Gary Thorne

“Stage designers jumped on the bandwagon promoting V.H.’s interiors, with some going quite big and beyond the need of the play. My inspiration credits film director Thomas Stuber, in particular his film IN THE AISLES, a most moving moody work. Making use of ‘crop’ and ‘effects’ I’ve tried complimenting the scene (25 minutes in from the start) where actor Franz Rogowski is very much alone, sat very still at his simple bed-sit desk, deep in thought. It’s a moment of great insight to a complex character. Rogowski has only to slightly shift his body knowing its plenty-enough to tell an in-depth narrative. “


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Phil Gomm

“Recently, I’ve been spending a bit of time in an old seaside department store, home to The Margate School, an art school and studio space for artists and makers. I’ve had some official duties to enact there, but found some time to roam about the building with my camera. In common with Hammershøi’s paintings there is a rich and wonderful stillness about some of the less-inhabited rooms and spaces in this big, old building, which boasts some big, old wonderful windows too.”


philgomm.com


Charly Skilling

“All I can say is these paintings made me think of moving house.” 



Vanessa Clegg

“What I’ve always admired about Hammershøi is his control both in the colour palette and subject matter. That cool northern light casting sharp cut out shapes on a wooden floor… a soft curtain lifting in  a cool breeze… sometimes just the empty room, sometimes the back of his wife… all echoing Vermeer in its quiet focus on the domestic…the silence is palpable.”


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And from the soundlessness and muted colour palette of Vilhelm Hammershøi, let’s hear it for artist Nick Cave and his flamboyant soundsuits – our next Kick-About prompt.



Palimpsest @ The Margate Festival Of Design 2022


At the outset of 2022, I began teaching a small cohort of postgraduate students at The Margate School on the Visual Communication: Design, Society, Nature one year, part-time programme. I had the pleasure of working alongside a lovely group of individuals and, in celebration of their achievements, and likewise yesterday’s launch of Margate’s inaugural Festival of Design, I was invited to work with them again to produce a short film.

Entitled Palimpsest, the film originates from the students’ initial sketches, doodles, writings and iterations, layered together, and expressed as the restless flicker of the creative mind.

As of yesterday evening, the film is now installed in The Margate School as a projection-mapped work, animating the large wall above the independent art school’s ground floor staircase. The Margate School operates out of a former department store on Margate high street – with all the quirk and atmosphere you might expect.

Many thanks to Claire-Beth Gibson, Claudine Derksen, Emma Self, Ian Jones, Grace King, Georgia Dack, Susanne Hakuba and Zoe Artingstall for helping me put this together, and for your creative company over this last year. Congratulations on your recent graduation (at the Turner Contemporary no less!) and best of luck for the future. May your brains continue to flicker!




The Kick-About #61 ‘I Remember’


Our last Kick-About together was a celebration of the idea of tea-making, tea-drinking, and its various rituals. Without this activity, with its powers of comfort and displacement, I wonder sometimes how we would otherwise negotiate some of life’s disappointments, large and small. Disappointment is one of the themes of Molly Drake’s I Remember, and it is Drake’s delicate, if devastating song that has this week inspired us to produce new works in a short time.


Marion Raper

My story begins with our family holiday to Dorset. It was probably early 60s and I think we were staying in Swanage. We were usually quite lucky with the weather, but it was not to be this time. As we had no car then, my parents decided on taking a nice coach trip to Lulworth Cove which was a famous beauty spot not far along the coast. My sister and I wore our summer dresses and warm hand knitted cardigans, as it was getting a bit chilly, but when we arrived at our destination the heavens opened and rain looked likely to be set in for the rest of the day.

‘Quick – let’s run up to that beach shop’ said mum. ‘We’ll buy something waterproof there for you both.’

My heart sank, as I could see at a glance it was a typical seaside shop that sold everything from buckets and spades to thermos flasks, and Mary Quant it was not!

So in we went and the kind lady behind the counter said, ‘I have the very thing – plastic macs!” My heart sank even further. She proceeded to pull out a white one for my sister, which had a small plastic headscarf, and as she was 4 years younger than me, it looked quite cute. However, despite a long search, there didn’t appear to be another in my size. Hooray!

Then just as I thought I had escaped, she found another bigger mac tucked away beneath the rest and, horror of horrors, it was luminous pink! I mean ‘day glow’ and ‘get your sunglasses on’ pink. (I know the sixties fashion was all about these bright colours, but this must have been very much a forerunner!). Even worse it had a matching hat, rather like an upturned flowerpot, that tied under the chin.

‘That’s just the job!’ said mum.

I spent the rest of the day skulking along the shoreline, trying desperately to hide amongst the overturned boats, but there was no way I could disguise myself; if I had stood on some rocks, I could have done a turn as a lighthouse beacon!

So that is my memory of Lulworth Cove, which is a place of peaceful serenity and muted beauty to many, but all I remember is psychedelic misery!



Charly Skilling

“The source of much pain (for the individual) and much humour (for the group) lies in the gap between one’s aspirations (or expectations), and one’s achievements. This is particularly true when we are young and in love. We want to be ‘soul-mates’ with our loved one – to share the same experiences, the same emotions, the same memories. Alas, it is rarely achievable. We recognise Molly Drake’s pain, because we have felt it too. But it also raises a wry smile. For we have learnt, as we grow within a relationship, that no two people experience any shared event in the same way. So we adjust our expectations accordingly.

By the time we have aged within that relationship, we come to recognise that it is an achievement for any shared experience to be remembered by both of us at all, without several minutes of dispute over location time of year, weather, and reason for being there. And why is it that I find I cannot remember the name of a place, I cannot remember how to get there, or why – but I can remember exactly what we ate and the colour of the waitress’s nail polish? What’s all that about?”



Colin Bean

“This one was a bit of a late starter for me. Having given some early thought to it and tinkered with water colour washes as a response to the words, the result didn’t quite live up to my expectations . Initially I was thinking in terms of printed textiles based on the stanzas and 1950’s, but a few scribbles and doodles confirmed that wasn’t ready to work for me. So it rested until almost the deadline and, as a final go at it,  I tried cutting up the original into sections  and rearranging in an effort to express the ‘you and me ‘ idea. That practice put me in mind of putting together a shade card.

In this one, ‘me’ is represented by colours for Molly’s words. ‘You’ are the stencils that stand separate until used on Molly’s colours, and that combination can be read as the ‘we’… though here, as in the poem, the two together do not represent a happy ‘we’ of Molly’s expectations.

The card is done from scratch and the colour swatches are gouache and then laminated. The script is traced from the text using a Word font. The miniature stencils are handcut and pierced oiled card. Yet another very interesting  Kick-About for me and a real challenge to express an ‘abstract’ visually.”



Vanessa Clegg

“Both of these pieces come under the headings of love / regret / romance and memory, all of which are sparked off by this prompt…”


“Goodbye to all that” oil on gesso on board. 60cm X 60cm

“Always” Stitching on old handkerchief and oil paint on waxed paper

vanessaclegg.co.uk


Graeme Daly

“Molly Drake’s words brought a tear to my eye, how such a poet can write something so striking about the melancholic juxtaposition of both light and dark. It brought back memories of people that have come and gone out of my life but also the places where those memories and faces come bubbling up when passing in a car or walking past a particular patch of land, like reveries of times I will never forget.”


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Phil Cooper

“What a wonderful song by Molly Drake, and so beautifully sung. This piece of music is like a faded old photograph, looking back at a bittersweet time, the little vignettes of holidays and days out are achingly nostalgic.

I’ve been on both sides of the dynamic expressed in this song at one time or another and either position is just grim and sad. I did some sketches this week in response to the prompt about a weekend trip with one of my first boyfriends over thirty years ago. We stayed in a guest house and went for a walk to a beautiful waterfall nearby, It should have been a carefree, loved-up, fun few days, full of laughter and lovemaking, but I’d reached the point when I realised I didn’t want to take the relationship much further but my boyfriend did and we separated soon after getting home.

This waterfall makes me think of that lost weekend. I wasn’t really mature enough at the time for a serious relationship; it would be some time before I was emotionally grown-up enough for that . I hope that boyfriend is happy now, wherever he is. He was a lovely guy.”


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Phil Gomm

“You might consider this a sequel of sorts, as back in March 2021, when Ole Worm’s cabinet of curiosities was our collective muse, I photographed and catalogued a selection of my own keepsakes, the emotional importance of which I couldn’t actually remember. Molly Drake’s ‘I Remember’ isn’t so much about the fallibility of memory, but rather the different ways in which we remember the same thing. Drake’s song also captures very truthfully how the significance of something can be quite wasted on someone else – even those closest to us. With this in mind, I turned my attention to some of the objects with which I share my home, but with which I have no emotional association, but which resonate very powerfully with my husband. I see a rather retro-looking glass paperweight, while my husband experiences a Proustian rush returning him at once to the comforts of his grandparents’ home and all the love he found there. There are objects collected here the provenance of which is still unknown to me, and their emotional heft as mysterious, but ‘he remembers firelight’.”


philgomm.com


Gary Thorne

“Back to jugs. Hoping a narrative might be staged within a shared space, in order to portray intimacy and separation and where the suggestion of alternate ‘points of view’ (that which each jug points to) draws a parallel to Molly Drake’s poem. Respecting the natural linen and pencil line seemed the right approach in order to deliver something feeling a little more natural than a paint saturated canvas at 30x30cm.”


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Kerfe Roig

“I wasn’t aware of Nick Drake’s heritage, but Molly’s song immediately made me think of ‘River Man. I took the feeling I got from both songs, and made a prose poem, then some art to accompany it.”



Fragmentations

She did not remember the way, but she remembered the times, the place. She wanted to connect present to past. She did not know how or where to begin, and yet she needed to try to construct that bridge. Words were all she had now.

Two ways, really, even though she always pretended they were the same. Or maybe it was only her longing that failed to understand that they were two, not one.

She had been dreaming of a river. A man, a boat. Trees, weeping, or was that her own voice, crying on the wind? It had been summer once. Flowered. Sweet.

But here was the river again, littered with fallen leaves. What magic word would turn back the seasons, dispel the haze, repair a lifetime that had already disintegrated into dust?

Was she coming or going? In her dreams a voice kept repeating you have to choose. But between what? Who? Did she get to choose who would be waiting on the other side of the river? Or was she to be the one left waiting?

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With thanks to regular Kick-Abouter, Tom Beg, we have our latest prompt, the short 1977 film Powers Of Ten, directed by Charles and Ray Eames.



The Kick-About #59 ‘Augustus Osbourne Lamplough’


Our last Kick-About together was fired off by the super-saturated decor of Henri Matisse’s 1908 painting, Harmony in Red, also known as The Dessert. As Vanessa Clegg observes, there is but a small difference between the word ‘dessert’ and ‘desert’, but a whole world of difference between Matisse’s spatial effects and use of colour and those distinguishing the paintings of Augustus Osbourne Lamplough. With Lamplough’s evocations of exotic landscapes as our muse this week, enjoy this latest collection of new works made in a short time.


Jordan Buckner

“The magic of Lamplough’s work is all in the soft, low contrast haze. He managed to capture those dusty, golden hour landscapes with a gentleness and calmness – a painting that feels barely there. My own contribution isn’t quite as calm – perhaps a little more sickly, but an exploration at least of the similar, low contrast magic landscape.”



“One process I often use to get a composition off the ground, is to take my old paintings and remix them. I collage and collide them together to create new forms, compositions and colour harmonies. It all feels a little mad and chaotic but it is the only way in which I can find some spontaneity in the digital medium.”



www.jordanbuckner.co.uk


Tom Beg

“I love the mirage-like quality of the African desert paintings and was instantly reminded of fata morganas and mirages in endless landscapes. With that in mind, I just had a bit of quick fun with some minimalistic desert imagery and a simple impression of mirages. Are they distant columns of lights? An epic oasis city in the desert? Or merely just a trick of the camera lens?”



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Colin Bean

“I met this Kick-About with a beautifully decorated box, which, some years ago, was given to my father on a removal job. He said it belonged to a nun, but it’s unknown to me if it was she who presented it to dad as a thanks, or if it was just something the owner no longer needed. My dad was never one to refuse anything. 

Inside the lid is a sticker marked ‘Relics’ and four smaller boxes are revealed. Each box, decorated all over with detailed floral sprays, contains fragments and objects collected on travels. Sadly, no body parts. In one are two pieces of building stone from the Great Pyramid… and so my rather obvious connection with the prompt.  It’s a  marvellous object and a bit like a transportable ‘cabinet of curiosities’. Apart from the pyramid fragments, there are some shells from the Sea of Galilee, a chunk of Fountains Abbey, and a bit of brick from the spyhole through which Wellington spied the French at Waterloo – and numerous other bits and pieces.

So the drawing (collage, coloured pencil and ink) that came out of this, is of that inner box: its contents and dedication. The obelisk (foam board, pins, beads and Pritt Stick materialised as a way of using the pattern of the red granite – useful if you happen to be staging ‘Aida’ or ‘The Magic Flute’ and you need a desk ornament.”



Vanessa Clegg

“Having missed the last two prompts I thought I’d try, with limited technology, to combine all three… So, drawing (Peake), dessert (Matisse) and desert (Lamplough). ‘Dessert in the desert’ (helped by an old yellow lens filter for the heat!).”


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Phil Cooper

“It just so happened that the week this prompt appeared I was asked to paint a picture of the desert by a friend from Dubai. I thought it was a fairly straightforward task, even though outside my usual oeuvre, but when I started trying to paint the sand dunes in the evening light I soon discovered it was tricker than I thought. The tones and colours were elusive and everything I did ended up too warm, too cool, just not right, and so the prompt was perfectly timed for me; I didn’t know the work of Augustus Osborne Lamplough, but as I looked at images of his watercolours, it was immediately clear this man really knew how to paint sand! The delicacy of the tints he used and the skill of his watercolour painting is breathtaking; so here was the master I could learn from to try and make my Dubai painting more convincing. I found it difficult enough with oil paint, where you can correct your mistakes, so I’m in awe of Lamplough’s skill painting desert-like landscapes in watercolour, where there’s nowhere to hide if something goes wrong.” 


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Kerfe Roig

“I decided to do watercolors, which perhaps lean more towards Turner than Lamplough, but the sunset feeling is still there I think.”


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Gary Thorne

“Using a tight colour palette with aim for a unified tonal landscape, and making use of the palette knife to harmonise structure and composition, this endeavour at 30cm square, tries to integrate tree structure as much with the air as with the ground. Spatial depth is somewhat sacrificed when a push for atmospheric effect prevails. Lamplough’s blue-saturated ‘Cairo Mosque from the Nile’ (on the Lyon&Turnbull auction website) provided the inspiration.” 


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Jan Blake

“I have a book of sepia photographs I bought in a junk shop many years ago. It is full of these curious landscapes from far away places of a Grand Tour taken in the early days of photography. I was going on some short travels of my own to Cornwall by train and I was prompted to think about my previous ideas of travelling I have been musing upon for quite some time. I love these soft muted colours Lamplough uses and have tried to apply them to a short series of my journey into Cornwall. I have taken the contrast of moving so rapidly from the verdant  lush quality that suddenly changes to moorland in a moment as you approach the landscape of the deserted tin mines around Redruth. As I was moving in the train it was like a stage set with moving sections. These sections move at different speeds so the furthest remains for the longest time with new images to the foreground that flash past. The perspective changes as well and I would like to continue this journey so that your eye dips into a valley… but I ran out of time!”


janblake.co.uk


Phil Gomm

“I wasn’t familiar at all with Lamplough’s work (much obliged, Jordan), but find his paintings completely magical, and can hardly believe they’re paintings at all, in so much as all that soft golden light and gauze is produced from paint and brushes onto paper. In Lamplough’s landscapes, I find the impressionism and light-play I always want from my own photographs, and it was a happy coincidence that Jordan’s choice of prompt should arrive in the same week I was experimenting with physical gauzes to produce more diffuse lighting effects of my own. Suitably inspired, I returned to a local bit of unadopted scrub set just back from the sea front (last seen on here under very different circumstances) and indulged once more my love of grasses, in all their billowing contours. First putting my camera into an organza bag, I proceeded to photograph the scrub as the wind pushed it this way and that, and the sun illuminated every quill and strand of it. Meanwhile, the gauze served to flatten everything out and flood the subject with light, producing some Lamplough-like atmospheres from a largely over-looked landscape.”


philgomm.com


Marion Raper

I am trying to convey the idea of heat by using very hot and luminous colours.  Augustus Lamplough however, managed to portray this by a marvellous technique of softness and reflection of light and shadow.  His paintings are simple but very effective and it must have been so wonderful a time at the turn of the 19th century, to wander around Egypt with your watercolours, and just explore and paint.



Graeme Daly

“When I recently came back to London after experiencing the greens of Ireland I was taken aback with how brown and muddy the earth felt, the grass crispy under my feet, the leaves and flowers with burnt liver spots. The world was well and truly scorching alive with a wave of heat that follows your every move. Sweating, I set out with my camera in the sweltering heat to explore the torrid areas and capture similar landscapes to Lamplough’s work, the park near my house where I run every day being the main jumping off point, coupled with the coloured slats, trucks and caravans in the midst of setting-up shop for a funfair. I wanted to explore taking the photos that step further – upping the exaggeration by adding a plethora of different shapes hinting at some civilisation in the distance. But is it nothing more than a mirage?”


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With many thanks to Berlin-based artist and regular Kick-Abouter, Phil Cooper, we have our latest jumping-off point, but before you take a look, you might want to pop the kettle on…



The Kick-About #58 ‘Harmony In Red’


Our previous Kick-About was inspired by the sometimes sombre, monochromatic, and richly atmospheric drawings of Mervyn Peake. Never happier than when making break-neck changes of direction, this latest gathering of new works made in a short time is inspired by Henri Matisse’s celebrated punch of fauvist colour. Boom!


Jan Blake

“I’m looking at the other side of this red room, and for inspiration, I went to my hallway, as it is possibly built in the same era but a different country. There are remnants of servants quarters that have survived its conversion into flats. I’m thinking that there would have been a door on that opposing wall. Who had just left? Where were they going? Mimicking the style of pattern and flatness, I have attempted to continue the story.”


janblake.co.uk


Charly Skilling

“The first thing you notice about Matisse’s Harmony in Red is that it VERY RED!  Saturated with the colour!  Indeed, it is difficult to describe this painting without using the word RED over and over again.  So I got thinking about synonyms, and how many different ways you could describe something that is RED and how such décor might impact upon the people sat at that table to dine.”



Jordan Buckner

“Really enjoyed where this one started to go. Matisse’s use of colour, shape and composition are legendary, but this study really made me think about how flatness, depth and differing spaces can collide. The flat window landscape of the original Matisse painting is really where it all started, and here’s where I ended up.”



www.jordanbuckner.co.uk


Graeme Daly

“All I really want to do right now is draw. I latched onto the royal reds of Matisse’s painting and the quirky perspective. The red made me think of opulence. I envisioned a glamorous home with large ceilings, grand staircases rimmed with gold, framed pictures and floral designs throughout the home.  At first I was a bit intimated by the brightness and saturation of the red; I didn’t want to burn anyone’s eyeballs with these illustrations, and with the first illustration of the bunch I had the back walls a much darker maroon, but then, with the second illustration, I jumped in with the same Matisse Red, determined to make its high saturation work. After adding in the details, such as the swirly designs, the gold rimmed edges and vaulted high ceilings, I was able to make the vibrant red work and decided to switch the first illustration to match! I am glad I did. I usually don’t do a lot of interior illustrations, but this bunch quickly become some of my favourite paintings thus far.” 


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Gary Thorne

“This is not a spot the fruit competition. However, there were tempting delights for this still life comprised of apricot, apple, pear, orange, berries and grapes. Another influence was certainly the abundance of garden and flowers situated between the back door and the garage/studio. Nice to be indoors at a time when the ‘heat’s on’. This started as one still life painting, however, as we know, stuff happens…”


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Marion Raper

“This Kick-About ties in wonderfully with the hot sunny weather and thoughts of summer parties and picnics. I really enjoyed constructing my collage of ice cream sundaes.  It seemed as if the scraps of pink lace were real raspberry ripple, the lilac chiffon was swirls of blueberry and the scraps of brown felt were real pieces of chocolate. However my Red Dessert is a tribute to my cousin Brenda, who sadly passed away with Parkinson’s disease.  She was always full of fun, and my last memory of her was when we went out for a meal recently. For her dessert she ordered a huge Knickerbocker Glory and began to tuck in. However, with her jerky arm movements, she proceeded to catapult large spoonfuls of ice cream everywhere and, all the while, with a big smile on her face!



Kerfe Roig

“I was pretty sure I’d done a collage based on this painting maybe 10 years ago, and figured I’d do a new one and then look for the old one to compare.  But while I was looking through my pile of decorating magazines for things to use, I came across an ad that made me want to paint it in the style of Matisse. It was that intense blue wall. So I did.  Then I did the collage. My old collage is very literal.  The new one takes a lot of liberties. I think the woman in it has some kind of magic in mind. As always, grateful for the push to do something new.”


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Phil Gomm

“The idea for this story came quickly, inspired in part by the conflict going on between the domesticity of the subject and the roar of all that colour, like a sudden rush of feeling, something eruptive and less civilised. I was excited too by the strangeness of Matisse’s perspective, a world shunted off-kilter so unexpectedly, and likewise by the very idea of Fauvism itself and all its ‘wild beasts’.”


You can find a PDF version here.

philgomm.com


Courtesy of Jordan Buckner, our next Kick-About prompt is the life and work of Augustus Osborne Lamplough, an English Orientalist painter and illustrator; known for his sunset scenes of North Africa. Happy travels.



The Kick-About #56 ‘For Drummers Only’


There’s something stripped back and uncompromising about the paintings of Basquiat, the prompt for our last Kick-About together. Likewise Sandy Nelson’s For Drummers Only, a 12 minute drum solo from 1962 that has likely had a few of us bopping about our respective work spaces or reaching for saucepans and wooden spoons to make a noise with…


Vanessa Clegg

“I closed my eyes and let the music fill me up… legs and feet jiggling to the beat, memories of the 606 club on the New Kings Rd..the doors opening just before midnight, musicians arriving after their various gigs and ‘ jamming’ ’til the early hours, alcohol in coffee cups and cigarette smoke hanging low, climbing the stairs at dawn. A quiet response to an exhilarating disc and time travel.” Watercolour and graphite on gesso.


vanessaclegg.co.uk


James Randall

“Loved the track and immediately went to motion and hit on a methodology that seemed to work. Then I needed a soundtrack without the fear of copyright infringement so created a noise to time an animation to. The narrative for the animation came from me walking into town for an artist’s talk- haven’t been out at night for ever! My first attempt came to a sudden halt after some effort was spent trying to recreate a street scene. It was never going to have any of the emotion of the real thing. So I rethought and came up with a type work that you can sometimes read but poor colour choices make that very difficult. Also about two thirds of the way through my words created in a different computer application run out. It’s a bit of a mess but I think it’s pretty and that’s what we need isn’t it?”



Colin Bean

“The prompt initially recalled my grandfather tapping out the ‘Radetszky March’ on the kitchen table.  He saw service in both world wars and as an Austrian  became German in 1938 and served in the Wehrmacht. Themes in ‘The Tin Drum’ (Gunther Grass), written after the war, suggested the imagery. Once I had the image, I used a Berol handwriting pen over washes created with watercolour pencils and used the same to enrich. The scrap glass over the image was smashed with a hammer. In honesty I have not  properly read The Tin Drum, but some years ago I did read ‘The Painted Bird’ (Jerzy Kosinski) and neither is for the faint hearted. Both, I think, deal with individual survival. In the end the image makes comment on the aspects of the war that my grandfather survived but didn’t say much about.”




Charly Skilling

“I love drumming. I love the sound, the rhythm, the feel of drumming. Fingertips on  desktops,  palms on bongos,  sticks on big bass, brushes on snares – any type of drumming is ok with me. And Sandy Nelson was one of the first big name  drummers to make its way into my consciousness. So having wallowed in the Sandy Nelson track several times, I first tried reflecting the rhythms by using sharpie pens as drum sticks, allowing the tips to mark as they would and then adding more purpose to my daubing as a kind of notation. I then moved on to create my own rhythms by allotting different colour paints to my fingers on each hand and drumming with first fingertips only and then with the flat of my fingers and palms.  Finally, I used two paintbrushes as drum sticks and, one in each hand, bashed out the rhythm. I had such fun. I’ll probably do it again!”



Jan Blake

I became totally immersed in this and this early painting was trying to capture all of it in one place….”



“… I then felt that the whole piece reminded me of a train journey through various terrains. Maybe prompted by a trip I will be making next week. I love the planning and the anticipation of travel.  Train journeys and stations have been cropping up in my sketchbooks  for many years and its the rhythm of the trains and the intricacies of the cables that seem to lend themselves to this drumming piece I ran out of time to arrange all the images I had encountered in my imagination so here are some I have selected to represent this journey.


janblake.co.uk


Marion Raper

“Upon doing some research I discovered that drumming releases endorphins, enkephalins and alpha waves in the brain, which are associated with feelings of happiness and well being. How wonderful!  Is this why we tap out feet or click our fingers to a catchy rhythm or beat? Or perhaps even feel we simply have to get up and dance? Although this is a rather tenuous link – here are some quick sketches of  happy couples ‘getting down with the beat’ and thoroughly enjoying themselves. Long may it continue!”



Kerfe Roig

“The drumming of Sandy Nelson reminded me of heartbeats which can careen wildly under different circumstances.  When I looked online for images of hearts, I was attracted to the somewhat psychedelic MRI images. I wanted to work large, but even with 18 x 24 paper, I was unable to do justice to all the different elements of the heart. I made no layout, but just started drawing in the upper center with my colored pencils, a small section each day.  So both the line quality and the proportions changed as I went on.  Whole sections were expanded, compressed, and left out – just like the trajectory of the drumming in my mind.”


kblog.blog / methodtwomadness.wordpress.com


Francesca Maxwell

“What a great album, thank you Charly, very inspiring. I find percussions and drums quite fascinating. When I was heavily pregnant with Sophie, we went to a Kodo Drummers gig. I didn’t realise it would be quite so loud and powerful, I could feel the sound waves going through me like through air, I could barely breathe. I was quite worried about Sophie, but she started kicking madly as soon as the sound stopped, which I took as a sign of appreciation. So here I am, back on the heart, and the heart beat responding to the drumming.” Acrylic Inks on watercolour paper, 25×17 cm.


www.FBM.me.uk


Phil Gomm

“My immediate response to this prompt was ‘make a film’, so I set about trying to find a means to visualise Nelson’s percussive effects; I built some simple 2D shapes in the video-editing software and tried to ‘vibrate’ them. I had the image of a cymbal being struck, a disc-shape producing more complex effects due to the persistence of vision. I struggled a bit, because I couldn’t get what my imagination was showing me. That said, during the experiments that led me to give up on the idea of moving image, I began to develop some work for which I could muster more enthusiasm – and if not visualisations of sound exactly, than artwork that wouldn’t look too out of place on the front cover of a jazz album.”


philgomm.com


Phil Cooper

“I’ve been enjoying listening to the amazing percussion of Sandy Nelson this week. I’d put it on when I was cooking, cleaning, working, it’s great for doing anything to. From time to time I’d grab a pen or a ruler and start tapping things in time to the music, the beats and rhythms are infectious. In response I made some cut-out paper shapes, trying to capture something of the music in the repeated shapes and colours of the papers. I then photographed them, overlaying the shapes and making different arrangements before adding some effects in Snapseed and Enlight. It was great fun and I found using sounds as a starting point was very freeing. It really encouraged spontaneity.”


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


Gary Thorne

“Still on whirligigs… but wishing to crank up the crank-shaft automation in order to learn a few new tricks whilst challenging the figure of speech ‘when pigs fly’. Some tweaking still to be done…”


linkedin.com/in/gary-thorne


Graeme Daly

“The plan was to plug the music for this week’s Kick About into a powerful plugin within Maya and have each drum model move to the rhythm of the whips and high hats in a synchronised swim of instruments. But alas my setup couldn’t handle rendering video with all the glossy gold materials and red rim lighting. Instead I decided to settle on snapshots and just focus on the materials and lighting, similar to the atmosphere you might see in a warm low lit speakeasy or jazz lounge.”


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


Thanks to Australia-based artist, illustrator and Kick-Abouter, Judy Watson, we have our new prompt, in the form of the drawings of Mervyn Peake. Have fun.



The Kick-About #55 ‘Basquiat’


Our last Kick-About together was characterised by a whirl of ingenuity, with our community of artists reaching for ad-hoc materials and digging out old tools by which to produce their ‘new works in a short time’. With Jean-Michel Basquiat’s paintings as this edition’s start-point, the range of work is no less inventive, and in common with Basquiat’s Untitled (1981), offers up an intriguing x-ray of the creative mind.


Graeme Daly

“Some expressionistic ramblings for this Basquiat prompt, feeling very much cathartic and automatic. I am sure there’s some hidden meanings in there somewhere!”


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


Francesca Maxwell

“I always find Basquiat fascinating, mostly because I cannot paint like him, so it is a sort of magic to me.  To try and paint something inspired by him was a challenge, and, at the same time, it gave me a sense of freedom I haven’t felt in my creative endeavours for a while. 

In the last few months I had a painting in my head which I couldn’t express. I had heart surgery to remove a tumour and wanted to paint the experience somehow, and Basquiat’s rich and symbolic, and, at the same time, innocent style seemed to be a good way. So this is painting over an old painting, multi layered and using different techniques.” “To My Heart’s Content” Inks, acrylic and crayons on paper. 76×56 cm.


www.FBM.me.uk


Kerfe Roig

“Skulls are ubiquitous in the work of Basquiat. He’s also famous for using whatever material he had at hand–newspaper, cardboard, a refrigerator, a door.  I’ve been meaning to revive my Headline Haiku series, that I did when Nina and I started the blog, using the news in the newspaper to collage or stitch or draw on and words from the accompanying articles for haiku-like poems.  In the past I’ve cut out actual headlines, or fed text into an online poetry generator, but in this case I did blackout poems from the news stories.

I used two pages from the war in Ukraine, one about the million deaths in the US from Covid, and one listing the gun-supporting Republicans with quotes from them about guns, along with how much money they get from the NRA, as backdrops for some skulls painted somewhat in the style of Basquiat. I believe were he still alive he would find all of those issues to be fodder for his work. At any rate, I’m hoping for some cheerier news soon.  At least you have the Queen to distract you for a few days…





kblog.blog / methodtwomadness.wordpress.com


Gary Thorne

Lucian Freud’s dynamic portrait of ER II immediately sprang to mind. Freud and Basquiat’s portraits share a bold three-dimensionality carved out in 2-D. With ER II proving hard to ignore, all cupboards were raided for this project. 1952 features on the front propellor whilst 2022 adorns its rear, throwing ER I into the mix and, ‘spiking ER II’ a-top a candlestick base added up to a crazy-fun KA!”


linkedin.com/in/gary-thorne


James Randall

“When I was ignorantly young I found a portal into the Andy Warhol world through his Interview magazine and discovered this street artist – so exciting! This Kick-About I implored Gary Thorne to allow me to use his selfie (and ultimately his last KA effort as well) to memorialise his and my husband’s 1978 excursion to the Venice Biennale (as Gary has just returned from this year’s event.) There were so many birds in the previous KA that I mistook Gary’s swimmer for a bird-like manifestation, so this round he became a yellow breasted Gary with masked plumage, and my husband became a crested red legged Gerry! ‘New is bad’ is a recent thought bubble about the environment, but I thought a bit of graffiti text and bright colour might edge me towards a KA pass (sorry Jean-Michel). It was also a bit of a play with composition, dividing the picture plane left right 50:50 then the left half 50:50 then the bottom left quarter 50:50. Bit of a miss mash image but fun to do.”



Phil Gomm

“I took the opportunity of this latest prompt to do something I don’t usually do or identify with particularly, which was to style myself as a ‘painter’, and undertake some expressionist self-portraits. The last time I did a self-portrait, it was in black biro pen and completed about twenty-five years ago, so I knew I was going to have to work-up to producing something. With this in mind, I set myself the restriction of working on one piece of yellow A2 paper, and working fast (20 minute stints) and using wax crayons, chalks and acrylic paint squeezed straight from the tube – and painting on top, and over, all previous various efforts. This way I hoped I could accumulate enough energy and courage to arrive at something I might otherwise have struggled to envision or produce, and move myself away from worrying too much about accuracy in favour of semblances. Now I have to laugh though, with the faces looking back at me ranging from Rasputin, the mad monk, to Max von Sydow as Flash Gordon’s Ming the Merciless! They all look rather sad, or haughty, or haunted. A bit taken back, people sometimes say to me, ‘How can you write those nasty little short stories of yours? You seem like such a nice bloke.’ Haha. I think ‘the bloke’ in some of these portraits is better placed to answer that question.”


philgomm.com


Phil Cooper

“Jean-Michel Basquiat is an artist I’ve often heard mentioned but knew very little about,  so after I saw the new Kick-About prompt I went and watched a few documentary films online to find out more. I admire how quickly and freely he worked. I read he used to work on several images at a time, with the TV on, music blaring, and reference books open everywhere. I think my head would explode if I tried something similar, but I can see how such an approach could stop you thinking too much, you’d just get into a flow of responses which could be creatively liberating.  I made some paper collages with this aspect of Basquiat’s process in mind, and forced myself to work quickly, trying not to judge what I was doing; just put an image down, snap a photo, then rearrange and do another one.” 


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


Marion Raper

“It is a strange coincidence that this time the Kick-About concerns a wonderful picture of a head by Jean-Michel Basquiat, as I have recently spent some time in A and E with a fractured jaw! The body is an amazing concept with its own protective mechanisms which,until we do something to ‘test it’ so to speak, we have no knowledge of (although I wouldnt recommend this!). For example, swelling around a damaged bone as protection ,and also bone spicules, which are little unwanted slithers of tooth/bone which work their way out through the gums to help the healing process. Amazing! No wonder Jean-Michel was intrigued as a boy after his broken arm and spleen surgery… My collage was done a while ago using cut scraps from a magazine, and the portrait is from a recent art class – which really made me concentrate on bone structure.”



Charly Skilling

“Jean-Michel Basquiat is new to me, and I was drawn to his use of colour and the strong sense of playfulness in some of his work.  When I saw  his Dinosaur (Pez Dispenser), it immediately brought a broad smile to my face and memories of Pez dispensers I have known (mostly Donald Duck, Mickey Mouse and Pluto that I recall, though I am sure there have been many more over the years! Did you know you can still get them? On Amazon, of course. Amazing!) Anyway, Basquiat’s dinosaur got me thinking about how I would create its like in crochet and my path was set.”



Colin Bean

Three related graffiti images appeared en route (on pathway, road and wall) between my home and the supermarket, each outline in a different situation, but all with a red spray can ‘shot’ in the head. The wall version is pictured running from a large white cloud with the word ‘Life’ centred in it, and the colours used are red, white and black. The narrative of my panel re-uses  those images  and adds to it associated human and animal ‘chance encounters and irrational meetings’ on the walk. The panel itself recollects a much larger French tapestry. Not far off what the Surrealists and Dadaist were trying out and experimenting with in the 20’s.

The central panel is satin stitch, and detail are simple straight stitch or zig zag, the dots hole-punched in card, used as stencil with a felt tip. The design was reversed and traced with an embroidery pencil onto ordinary tracing paper… you just iron on and the lines transfer. The narrow panels are just freely stitched with separated threads of tapestry wool. The cans were internet images cut up and zig zagged on, as were the scrap white cotton for the bags. Cannabis leaves were felt tipped in before embroidery. The two lines above and below the text were ‘built in’ embroidery stitches already in the sewing machine. The lettering was hand-drawn with no font used, and as for the coloured lettering, that’s created with thread that is bought already randomly variegated, so the colour changes as you stitch.”



Vanessa Clegg

“Some of Basquiat’s portraits have a kind of looseness that looks like threads unravelling, so it got me to once more reach for the sewing bag and start stitching. Building the colours and trying to get a ‘drawn’ element, this eventually resulted in ‘Eve.’ – a bit of a crazed-looking individual, but a great way to work (ie: starting with no idea what to do but letting it evolve) for someone who researches and plans assiduously, so another triumph for the Kick-About in it’s continual way of challenging and stimulating through each prompt. So glad to be back!”


vanessaclegg.co.uk


Thanks to crochet queen and regular Kick-Abouter, Charly Skilling, we have a brand new prompt: “Drum roll, please…”



The Kick-About #54 ‘Whirligig’


Our last Kick-About together invited us into the spectacle of Toulouse-Lautrec’s circus paintings, and so to spin around for a bit in the company of clowns and acrobats. Thanks to Kick-Abouter, Gary Thorne, we appear to be turning in circles again this week, and departing on other flights of fancy…


Gary Thorne

“Having swam my way through sciatica, it seemed appropriate to channel that commitment into a Whirligig self-portrait. It is not quite pivoting smoothly on turning into the wind – so more engineering fun ahead yet, it was massive fun to make. Apology for the amateur film making!”


linkedin.com/in/gary-thorne


James Randall

“I found myself with a bit of time for a 50 second whirligig video, made of junk I had, but not having touched Premiere or After Effects for years – and playing in Garage Band too… It was fun. Thank you very much! “



Kerfe Roig

“I had no illusions I could construct an actual whirligig.  But I figured I could do something that moved, with birds. As usual, not much like my original vague idea.  And I had a very hard time finding a place to hang it where there wouldn’t be too much stuff in the background for a photo.  As a result, the photos aren’t great, but they do give an idea of how it looks in motion.  And now that it’s fan weather, it’s in motion much of the time.


kblog.blog / methodtwomadness.wordpress.com


Colin Bean

Rowland Emett was a cartoonist and sculptor of automata. He created things that are whimsical, English and eccentric and which serve the purpose to raise a smile and be enjoyed (Far Tottering and Oyster Creek Branch Railway Festival of Britain 1951). To me, his work is like a cross between early steampunk and Festival of Britain surrealism. I  also wanted a theme to work around, and an illustration of the cross section of the (art nouveau/steampunk) Nautilus in a  1950’s  Disney children’s book provided the theme. The first idea was to imagine a whirligig  (generally a wind driven automata) for Captain Nemo’s garden. Unfortunately, he never made land and I am no mechanical engineer, but I did put one together and rough-tested it with white card model. However, a lot of time was spent in the processing and considering its movement, and I felt the fantasy and whimsical Emmet elements were getting a little lost, so in the late and last hour, to refresh, I returned to doodling and to the train idea. Times up and I have a beginning and some initial responses. It’s been another great Kick-About and provided a lot of material to mine….. plenty more left in this Kick-About to chase.



Phil Gomm

“Developing some ideas first inspired by a previous bird-based Kick-About, I set about thinking about how I might release a bird into the rooms of my home and photograph it. Actually, I set about constructing a cardboard, bird-shaped whirligig that I could suspend along a length of white elastic, which I then sent twanging around the low-ceilings of our tiny seaside home and photographing on longish-exposures. From humble ad-hoc origins (I spray-painted the cardboard bird-thing with cans of old car paint from the shed, using our landfill wheelie bin as an impromptu spray booth…), I was able to produce some surprisingly transformative photographs. Some of them even left me thinking, ‘It’s an actual bloody bird!’. I did four different shoots over four different days – an hour-a-piece – and tried a few different things each time, with the resulting photographs moving quickly towards more impressionistic effects.”



philgomm.com


With thanks to regular Kick-Abouter (and cocoon-botherer), Graeme Daly, a new prompt and another complete shift. Looking forward to seeing you getting into your neo-expressionist stride! Enjoy.



The Kick-About #53 ‘At The Circus’


The last edition of The Kick-About marked our second birthday and two year’s of fortnightly creative challenges encouraging artists of all stripes to make new work in a short time. As such, it was something of a three-ringed circus, an eclectic, celebratory showcase with a little bit of something for everyone. How appropriate then our first prompt of the new Kick-About year should focus our attention on the circus paintings of Toulouse-Lautrec. ‘Roll up, roll up!’


Tom Beg

“I was instantly drawn to Henri de Toulouse-Lautrec’s line drawings that he produced much earlier in his career, and felt perhaps there was a way to capture the immediacy, simplicity and instinctiveness of those sketches with the modern digital tools I typically use. Channelling the spirit of an earlier Kick-About, Herzog’s Dancing Chicken, which also evoked manic movement and energy, I just applied the same techniques but attempted to reduce it down even more. I think there is an entire series to be made of these at some point!”


twitter.com/earthlystranger / vimeo.com/tombeg / tombeg.com


Colin Bean

“I was about eight (late fifties) when, on a Saturday afternoon, the treat was a trip to the circus that had arrived in town. It was traditional in every way, clowns, band, ringmaster, plumed horses  and glamorous riders, acrobats, contortionist, flying trapeze, performing chimps, lions and tamers, tigers and camels.  My great Uncle Arthur was a forward agent for circuses, and I believe he supplied some free tickets. By that time, he had taken over a zoo and kept chimps and a lion called Sultan, amongst others animals. The zoo, and an accompanying Archery Stall, was in Ramsgate on the far end of the sea front, and at the time, part of the complex of amusements known as ‘Merrie England’ (later ‘Pleasurama’).  I doubt if it was that merrie or pleasurable for the animals. Welfare and safety concerns were soon to radically change the idea of circus and zoos. For me, this Kick-About is about nostalgia, and the memory of Merrie England, the circus and zoo, and great Uncle Arthur…”



James Randall

“Toulouse: What a great prompt. We don’t see a lot of his work down here but his use of colour certainly has burnt into my mind. I was a bit short of time, though I think I got the essence of what I was after – would benefit from actually being painted. I saw a man dangling from ropes cleaning an old brick building with a high pressure water hose – bit like an acrobat – with an audience at the stop lights. I was thinking of the figure with the ropes pressing around him and experimented with photographing a pillow tied up with string – not wanting to throw the images out, I put them in the background building’s windows (who knows what goes on in the buildings we walk past every day!) I kind of turned the image from day to night and took the photos to use as spotlights behind the dangling man. Anyway fodder for a later project perhaps.”



Kerfe Roig

“A circus immediately brings to mind clowns, a disguise that has always seemed a bit creepy to me. But it also reminded me of a book of photos taken by Matthew Rolston of some of the ventriloquist dummies in the Vent Haven Museum in Fort Mitchell, Kentucky. Haunting and aware, I’ve always wanted to try to capture some of the sentience of the photos in a drawing. And so I did, randomly opening the book to four different faces. One of the essays in the book says they are meant “to suggest life”, but any supposedly “inanimate” object so entwined with a human life is alive. Any child can tell you that. They may have been separated from their humans, but these faces remember them. Here’s a link to Roston’s photos.”


kblog.blog / methodtwomadness.wordpress.com


Charly Skilling



Graeme Daly

“Initially, I had the idea of loading up an old battered and broken blue iPhone that I didn’t expect to turn on, from which to rip some photographs from a circus I attended with friends, the circus standing tall on the iconic Rochester hill where I went to uni. Amazingly, the phone turned on with its red battery charging symbol loading through the cracked pixelated screen. The joy on my face when I held the tiny phone in my comically large hands… However in my many attempts to get all those photos off this ancient iPhone, technology somehow fucked me over and devastatingly wiped every single photo from the phone, including all the photos I wanted to use for this week’s prompt!

I ended up sitting and sulking on the idea for a while and contemplated coming up with something completely different, but stubbornly I didn’t want to, and I did have a handful of those very photos from that iPhone stored on my laptop that I never deleted. So instead of being a moody little shit, I decided to try and make something from them by duplicating the original photos and using previous creations and random photos laid on top to attempt to create some new compositions exploring the light, energy and disorientating weirdness of a circus. I guess with the recent anniversary of the Kick-About, in some ways it can seem poetic to use a bunch of outpourings from previous Kick-Abouts to create something completely new.”