The Kick-About #52 ‘104.286’


Welcome to this anniversary edition of The Kick-About, marking two years of creative activity undertaken by an international community of artists… which, when you put it like that sounds very impressive indeed! While those of us who participate in these fortnightly challenges might not regard ourselves as grandly as all that, this is my opportunity to thank everyone for their continuing creativity and companionship over this last year. I also want to reflect on the very real and demonstrable benefits of ‘kicking about’ together: yes, it’s another thing we have to think about, and yes, things don’t always run smoothly or go to plan, but ‘making work’ is always a magical act, and life-affirming too. Thanks again to everyone in the KA community for your boundless imagination and sticking power. Look at what we did!


Tom Beg

“What I found the most gratifying about The Kick-About this year was that, for the first time in ages for me personally, it felt like I could take any small idea that I had and bring it to some form of a conclusion without feeling like there was a whole load of mental and skill barriers in the way.

One of the most satisfying projects out of all the ones I produced was the animated short film inspired by Marie Menken for The Kick-About #34. After a very long time of not really making any moving image it felt quite rewarding to just let go and make something with the same kind of ‘just do it and see what happens’ attitude that always felt so inspiring to me as a creative, but perhaps, over the years, got lost in the shuffle of life and other such boring things! These days, just producing work and art is anything but boring for me, so I’m looking forward to seeing what else might become a makeshift goalpost in the park with all the other fellow Kick-Abouters in the future.”


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


Kevin Clarkson

“I had not heard of Brian Rutenberg (Kick-About No. 32) 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!  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


Chris Rutter & Evelyn Bennett

“We really enjoyed doing the Marie Menken’s ‘Lights’ one (Kick-About No. 34). It was great to use so many media – video, painting, music – in one short, improvised response.”


rutterandbennett.com / instagram.com/rutterandbennett


Judy Watson

“The prompt could hardly have been more suited to me and my natural inclinations. It’s inky and leafy and Australian. What strikes me most is the combination of the loosest of ink splatters with far more careful and detailed patterning. I was going to explore some inkiness yesterday (Yep! Last minute again!) to see where an observation of Mungkuri’s work (Kick-About No.37) might take me, especially with regard to the use of white ink patterning over the top of the looser ink layers. But before I could begin something happened… Our bees swarmed!  Later, I had a bit of a go at my inky exploration of Peter Mungkuri’s plant drawings, but my mind was full of bees. And joy. So it became an illustration of Hugo and me, arms uplifted to the swarming bees.”


judywatson.net / Instagram.com/judywatsonart / facebook.com/judywatsonart


Marion Raper

For the Kick-About No. 41 ‘La Ville’ ~ “I used one of my daughter’s photos of an event when Lady Gaga walked down the red carpet, which I firstly painted in watercolour and then recreated it in the style of ?? (You can see why I nearly failed my Art O’ level!) Anyway, I enjoyed creating art in this way and using such zingy colours!”



Colin Bean

From The Kick-About No. 51 “Print them out and colour in your very own folk art postcards. I used google to translate the English titles into Ukrainian, so apologies for any grammatical errors.”



Emily Clarkson

“Of the prompts I participated in, I think my personal favourite was Kick-About Number 31, Lotte Reiniger. The traditional form of silhouettes and stop-frame animation was more hands-on than my other prompt responses. Less abstracted. And less rooted in technology, which was an invigorating change.

Cutting things out of paper for craft projects is something I’d been doing since I was little, much like Lotte did, so I ran with the nostalgia. Plus, the rudimentary camera setup resulted in an animation with some wonky charm that I quite like!”


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


Phil Cooper

“For the second year anniversary post I’ve chosen a little film I made for Kick-About #28. The prompt that week was the garden created by Derek Jarman on the shingle spit of Dungeness. Derek started making the garden during a period of personal crisis, shortly after he had been diagnosed HIV+ in 1986. Back then there was no treatment available for HIV and it was fatal in almost all cases. The garden was a tremendous act of creativity and of defiance in the face of a terminal diagnosis, not least because he built it in one of the most unlikely places in the country, the arid, salty shingle of Dunegness, directly in front of a nuclear power station. And, despite his failing health, the garden provided the backdrop to one of the most dynamic and prolific periods in his life; he crammed in more living and working into those last few years before his death in 1994 than most do in a whole lifetime. 

I used the words that close his book, At Your Own Risk, writing them in wax crayon, before brushing some black ink over them. The resist technique didn’t work very well and the words aren’t very legible, so here they are:

‘I am tired tonight. My eyes are out of focus, my body droops under the weight of the day, but as I leave you Queer lads let me leave you singing. I had to write of a sad time as a witness – not to cloud your smiles – please read the cares of the world that I have locked in these pages; and after, put this book aside and love. May you of a better future, love without a care and remember we loved too. As the shadows close in, the starts came out.  I am in love.’

As he wrote those words in the early 1990s, he foresaw a better future for the world. Sadly, I’m not sure if this has come to pass, at least not yet. The crisis of AIDS in Derek Jarman’s time has been resolved across most of the world, but the climate crisis and war in Europe threaten chaos on an even greater scale. I wonder what he would make of the world today? I confess I’m pessimistic about what lies ahead for humanity, but Derek’s life provides a kind of blueprint to at least try and deal with the terrible state we’re in; speak out, respond, fight, create, work, and make a little garden to face down the dark forces.”


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


Francesca Maxwell

“I love abstract paintings (Kick-About No.32) particularly as I know what a challenge they can be for composition and colour, light and movement. In my work I also strive to keep the first creative impetus with its full emotional strength before it becomes too cerebral. So this is one of my abstract painting that deals with space, macrocosm and microcosm. Thank you Phil and all the extraordinary artists who make this creative experience so special.”


www.FBM.me.uk


Kerfe Roig

The Kick-About No. 30: “It was so hard to choose.  But I decided to go with the Fundus Photography. The photos themselves are magical, and I feel the watercolors I did inspired by them are some of the best I did all year.  They are still hanging in my office, almost the first things I put up when I moved, and every day I enjoy looking at them.”


kblog.blog / methodtwomadness.wordpress.com


Phil Gomm

“I’m choosing my short story, Nasturtiums, to include in this anniversary edition for two reasons: the first being that, at first glance, Sheila Legge’s Phantom of Surrealism (Kick-About No.36) left me scratching my head and worrying at the efficacy of my imagination. My second reason for sharing it is because, once I’d stopped worrying, this short story arrived with surprising ease, and for all its inherent strangeness, felt, in some way, inevitable.”


You’ll find a PDF version here.


(I wanted to offer up a little birthday bonus with this edition of the Kick-About, so with the assistance of voice artist, Catherine Bradley, I’m happy to present a little audio-book adaptation of Nasturtiums. Enjoy!)

philgomm.com


Vanessa Clegg

“My favourite kick about this year has got to be the Stezaker prompt (The Kick-About No. 47) I loved the challenge of creating two parallel stories and then putting them together as one piece. Having said that, the Louis Baldwin took me to new areas of finding and stitching and Splendor Solis gave a rare opportunity to become immersed into a drawing over a long period of time. I just enjoy them all!”


vanessaclegg.co.uk


Gary Thorne

“May 2021 – KA #30 Fundus Photography – has to be the right choice at the right time, with May approaching and a garden offering seemingly endless delights of colour. A reawakening of the senses and added energy by way of summer approaching seems a timely reminder to exploit the daylight hours, be observant, and delight in making use of such inspiration.”


linkedin.com/in/gary-thorne


Charly Skilling

“I have enjoyed so many of our KA prompts this past year, it is difficult to choose a favourite.  But I have opted for Kickabout #30 “Fundus Photography”, because I found my “Alien skies” and the poem “Forward, Hover, Focus, Click” flowed so readily and so smoothly that I revelled in the process and now, all these months later, I can still look on the  work and be happy. It is very rare for equal pleasure to be found in conception, execution and retrospection (for me, anyway!) so I cherish this!”



Graeme Daly

“I have decided to choose a recent response for the two year anniversary, which is the prompt of contemporary textile artist – Louise Baldwin (The Kick-About No.48). The outpouring of photography was completely transfixing, utterly intoxicating, but also very unpredictable. It was one of those times where something awoke in me and the tunnel vision of this bizarre creative pursuit was exhilarating – especially because the uncertainty of dumping all those household ingredients into a jar and photographing the bubbling frothy results is a practice I certainly wouldn’t have even attempted if it wasn’t for The Kick-About. But it is one byproduct that the Kick-About can and does unlock, as I do think being an artist means experimenting, breaking the status quo and playing to see what can flourish.  So thank you all for the art, the making, and the doing, and helping me to produce things I would never have dreamed of, and thank you Phil for always curating our pursuits into a post I always look forward to.”


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


James Randall

“So good to be a part of the KA and see all your fabulous work over the last year – lots to be inspired by and challenged to undertake! Personally I got an enormous amount out of the Sheila Legge challenge (KA 36 – Phantom Of Surrealism). I felt a bit aimless at the start but once my mind began wondering about, while trying to recreate Sheila’s surrealist mask, I zeroed in on the parallel stresses between her era and ours – big scary times. That’s when my image took an environmental posture and I cobbled together imagery to represent power and disaster. I also added ground charcoal textures and hand writing to my photographic images and broke up the framing of the image with staggered photo stripes in the background. It was one of those surprising outcomes that seem to happen so effortlessly its almost as if someone else was giving me a hand. I was also happy that the flower head felt a bit Covidish. Looking forward to the next KA.”



Jordan Buckner

“As many have written over this past year, our lives have become perhaps a tad too much like a De Chirico or Hopper painting. The empty, beguilling landscapes feel a little too familiar for comfort, but nonetheless, these sorts of spaces are my stomping ground. The unease of architectural space has always been an inspiration in my work, and so here are a few strange tableaus inspired by De Chirico’s The Song of Love (Kick-About No. 27).”


instagram.com/jordan_buckner / twitter.com/jordan_buckner / linkedin.com/in/jordan-buckner jordanbuckner.co.uk


Phill Hosking

“This piece started life as a digital painting, in the style of Rutenberg’s paintings (Kick-About No.32). 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


Jan Blake

“After a bit of pondering I have chosen the Matisse Kick About (No.38) for the anniversary of this last year’s offerings. I really liked Phil Cooper’s introduction about Matisse and his joy of playing with scissors as an exuberant response to nature. The fact he made these cut outs in later life reminded me of where I am in my own life and the joy I found doing these cut outs and playing with colour, shape and movement.  I think I will be going back to them as they have been left out on the desk asking for more from me…”


janblake.co.uk


And, so as to launch us into another cycle of creative show-and-tell, I’m offering up a night at the circus, courtesy of Toulouse-Lautrec. Send in the clowns!



The Kick-About #51 ‘Maria Prymachenko’


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


Vanessa Clegg

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


vanessaclegg.co.uk


Colin Bean

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



Marion Raper

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



James Randall

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



Gary Thorne

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


linkedin.com/in/gary-thorne


Phil Cooper

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


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


Phil Gomm

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



Kerfe Roig

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


kblog.blog / methodtwomadness.wordpress.com


Graeme Daly

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


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


Charly Skilling

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



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



The Kick-About #49 ‘Saul Bass’


From the lovely free-wheeling associations of our last Kick-About together, to the pared-down, typographic compositions of graphic designer and film-maker, Saul Bass, welcome to another showcase of new works made in a short time.


Vanessa Clegg

“Lots of ideas came and went with this prompt, including the darkness of present day Ukraine but, finally, I settled on something that had, hopefully, a sense of vertigo, as well as a tinge of Hitchcock. I remembered a trip to New Zealand, during which there was a minor earthquake. I was standing outside having walked in a surprisingly calm manner out of the vibrating house (no damage) and watched frozen to the spot, the feeling of the earth beneath my feet no longer being solid, static and secure but moving in waves – a living thing – resulting in a true loss of balance.” Tracing paper, string, cracked mirror, graphite and watercolour on gesso.


vanessaclegg.co.uk


Kerfe Roig

“When I looked at the work of Saul Bass (familiar, although I did not know his name) word collage seemed the obvious response.  I didn’t overthink it.”


haunted by an inferno of blood

shattered by grief–

why this needless danse macabre?



if you follow fate

far away to the return of time

understand

that the passage

into prophecy and myth

is final



when the hidden clue

is fluctuating between

sinister truth

and the vestiges of myth


kblog.blog / methodtwomadness.wordpress.com


Charly Skilling

“Although I did not know the name of Saul Bass before this prompt, much of his work was instantly recognizable.  Here are the film posters I grew up with, and I had a really fun time playing with the colours, the geometrics, and the directness of Bass’s images. I had to find some new techniques and some worked better than others, but overall, I am pleased with the finished object. So next time I want to curl up on the sofa to watch a classic movie, my “Movie Night” throw will be right there with me!”



Graeme Daly

“Some Saul Bass inspired illustrations from the gorgeous and brutal The Handmaid’s Tale. Its stunning red and teal colour palette was truly calling for it!”


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


Tom Beg

“The work of early motion designers like Saul Bass and John Whitney is something of an enigma, which I think comes from a certain looseness hard to replicate using modern digital animation techniques. Recently, I have begun to pick up a bit of coding to supplement my usual creative outlets and try to understand an entirely new way to generate art and animation that just a few months ago had basically been totally unknown to me. Despite what may sound like quite a rigid and unforgiving system of creativity, I have found there is a kind of looseness in programming graphics that is a lot of fun to play with. Add a few lines or numbers and expressions and just see what happens. Sometimes you can produce some unexpected and interesting results that harken back to the days of the early computer artists and graphics designers.

As for me, it’s very early days, as far as my skills go, but I have been able to produce a few little interesting bits. One of the exciting things about using code is that nearly everything can be randomised or given a level of user interactivity. No two images or animations will appear the completely same. Feel free to generate your own unique versions of these images using the links below.”

Saul Bass Inspired Spirals: https://openprocessing.org/sketch/1508265

Lissajous Curves: https://openprocessing.org/sketch/1510216

Painterly Swirls: https://openprocessing.org/sketch/1508666


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


Phil Gomm

“Back when I was teaching an undergraduate course, one of my yearly highlights was a screening for students of Alfred Hitchcock’s Psycho on the big screen. There are many showier reasons for enjoying this film, but I always loved the Saul Bass-designed opening titles – those simple horizontal lines sliding in across the frame with such urgency, while Bernard Herrmann’s score propelled them along. Working with a few simple elements – dots and dashes, lines and ellipses – I set about producing an affectionate fantasia on some Bass-inspired themes.”



Marion Raper

“We have a ‘clattering’ of jackdaws which visit us at least twice a day to gather up the food that has been spilled from our bird feeders by the other smaller birds. One day we noticed one jackdaw was moving around rather strangely and being shooed away by the others.  As it hopped about we could then see it had a badly damaged wing, and when the others flew off it quickly ran/jumped away and scuttled into our hedge.  Over the last 5 or 6 weeks ‘Hoppy’ has managed to survive by scrounging food from us and various other neighbours in turn.  Now he is not intimidated by the other birds and manages to hold his own even against some huge black crows and rooks which sometimes arrive.  In fact, he is tolerated quite well by the other birds, and I have even seen a couple of his jackdaw mates fly up and knock food down from the feeders especially for him as he waits below. You can’t help but admire Hoppy, and for this reason I have made him the star of my Saul Bass-style poster.”



James Randall

“Sorry – bit of a rant but better out than in. The face is made of of little figures – meant to be asexual, they look more like men with extra big hips. I just can’t imagine how awful life must be for the Ukrainians because of that psychopath. Nukes, China? I think at a human level it is well past time to step in.”



Gary Thorne

“I struggled to find a form of language/text to add to a painting that further portrayed the emotion within the situation I was visualising. I realised that in this most horrific of situations there was ‘voice’ yet their distress calls simply evaporated into the cloud formations above, leaving no hope for those adrift in the English Channel. A bleak painting for bleak times.”  


linkedin.com/in/gary-thorne


Phil Cooper

I remember watching movies as a kid and loving the Saul Bass credit sequences more than the actual film; they seemed more exciting and mysterious by far. Whilst doing a bit of research for this prompt, I came across on old Sci-fi short film Saul and Elaine Bass directed called Quest. It looks dated and clunky now, but I liked it all the same, with some nice visuals and design. The ending resonated with the current times for me, and it led me to thinking about how precious every day of our lives are. This piece of work might be a poster for the movie. I’d been looking at Saul Bass when I made it. “


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


Inspired perhaps by the whirling spirograph of Saul Bass’s Vertigo poster, but prompted too by the importance of parsing distinctions between ideologies and individuals, Naum Gabo’s Linear Construction No.2 is our jumping-off point for the next two weeks.

“Returning to Russia after the Revolution, Gabo saw political forces redirect Russian art from exploration to propaganda. In 1920 [Gabo] issued the “Realistic Manifesto” of Constructivism, which [he] posted and distributed in the streets of Moscow. In it [Gabo] asserted that art had a value and function independent of the state.”



The Kick-About #48 ‘Blown In’


If the last Kick-About got us circling around ideas of different pieces and the ties that bind them, this week’s showcase, inspired by the free-associating permissions of Lousie Baldwin’s contemporary textiles, is an offering no less preoccupied with fragments, layers, and bits. Enjoy this latest collection of ‘new works made in a short time’, in the knowledge that civilisation is a fragile thing, configured from acts of creativity, however small.


Marion Raper

“Well my life has certainly been bound up with fabric and stitch. I always have something ‘on the go’. From my earliest days I was making crocheted hairbands, scarves and berets (as worn by Bonnie Parker!) We thought we were so chic! Then came the ‘fab’ colourful clothes of the 60s with such happy memories of village hall discos and crazy parties!  The 70s were slightly more sedate as lacemaking and patchwork reappeared. Like countless other sewers, I have a bag of leftover scraps of fabric that instantly take me back to when I made a certain dress, where I wore it and the people I was with then. Next came the wonderful Stage Shows and Carnival Costumes of the 80s. Such a tapestry of music and mayhem with enough memories to fill a book. Even now I am making a baby shawl for a great nephew arriving soon. Time moves on and the world seems a more dangerous place. Yet the basic fabric of life is still the same. There will always be a need for a baby’s shawl.”



Vanessa Clegg

“I’ve been saving the wrappings on my favourite Spanish sugar biscuits and this seemed the ideal prompt to put some to use…it also gave me a theme. So, despite having a schoolgirl knowledge of stitch work (Charly, avert your eyes!) I had a great time cobbling this together.”


vanessaclegg.co.uk


James Randall

“After wallowing in the talent on display from the last KA, I rushed off to read about Louise Baldwin and took away sewing and recycling to present you with fabric and a local garbo. I’ve been snapping people from our second story apartment thinking about contemporary reality and how we don’t acknowledge the people who look after our day to day (essential) needs. I drew up the snapped garbo and his trusty truck in Illustrator and filled the shapes with with fabrics from the web – I’ve wanted to try this “fill with texture thing” for a while but have been a little afraid of it resulting in a total time consuming mess – I think it worked though.”


“And because I had the time, I decided to try and push the sewing aspect and digitally ripped the image and “sewed” it down – concept fully abused!”



Phil Cooper

“I didn’t know Louise Baldwin’s work before this prompt, but I’ve really enjoyed getting to know it over the past couple of weeks. I love the colour and texture of course, and there’s a dreaminess to the work I’m drawn to. a mood that seems to float between various emotional states. Reading up about Louise’s process I could see how this rather ambiguous sensibility might come about; working directly with the materials, responding to each piece as it is made rather than having a pre-conceived idea of what it was going to be.

This led me to thinking about my own approach to making work, how much of it was intuitive and responsive and how much was planned and conceived. I talked about it to a friend who directed my gaze to the surface of my art table, covered with spattered layers of paint and pigment that had built over many years of working on this surface. The marks were entirely accidental, but this had generated its own particular quality and magic so that the table top ended up looking like an abstract expressionist painting from the 1950s. It’s a lovely thing in its own right, the random marks and colour like a palimpsest, recording the days of my working and living.”



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


Gary Thorne

“With sewing not in my skill set, the focus landed on Baldwin’s layering with some interest on pattern, to be applied to still-life painting. Leaning towards a darker palette established a preferred mood, and the overlapping nature of form seems to add spatial ambiguity which is a rewarding discovery for me. There may be an edgy threat within, most likely influenced by the worrying state of current affairs.” Oil on prepared paper 65cmx50cm.   

     


linkedin.com/in/gary-thorne


Phil Gomm

“What a joyful prompt this was! Baldwin’s work gave me permission to draw quickly and instinctively, and embrace colour and abstraction, to produce a whole series of exuberant large-scale compositions. I just sat down and drew a few impressions of some of our many houseplants – in this instance, a Pilea peperomioides – and then used them to produce some big bold abstracts. In truth, I could have gone on and on with this, wishing I had the resources to produce them as massive prints for the soft white walls of some airy penthouse atelier. There is such pleasure to be found in colour and the rush and whirl of a few bold lines.”



Kerfe Roig

“I made several attempts to do this in textiles, but it just wasn’t working for me.  The design looks much more painterly than textile-ish to my eye, and has an Asian feeling.  So I combined watercolor and origami paper.  For the first one I glued 3 squares of origami paper on some rice paper and used watercolor and black ink on top.  The second one was painted first, then I cut out origami paper dots and glued them on, stitching some embellishment as a nod to the stitching in Baldwin’s piece.  Her focus on spontaneity is often my approach in watercolor so that felt right as well.


kblog.blog / methodtwomadness.wordpress.com


Graeme Daly

“I ran with two things from this week’s prompt – the blobby shapes and the colours!”


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Charly Skilling

“They are like the bits of information, memories and desires that float around our brains”.

I usually spend several days just thinking about a new KA prompt; mulling ideas over, discarding them, then resurrecting them for a second try. Usually, I have a fairly clear plan in my head before I ever pick up crochet hook or pen. But this time I decided to set all prior planning aside and see what was “floating around my brain.” I selected a yarn of which I had sufficient stock for experimenting, found an appropriate size hook, and began to crochet, changing colour, direction or stitch as the whim took me.

At first I just thought “green, nature, outdoors” but as the piece progressed, I found myself thinking more and more of  the chalk hills of The Chilterns, where so much of my life has been spent. These chalk ridges, created long ago from the skeletons of innumerable tiny creatures, roll in waves across much of southern England, an everlasting memorial to a receding prehistoric sea. The high ridges have been grazed by sheep and walked by man for millennia, and the thin topsoil has been scraped, and shaped, by Nature and by design, to reveal  flowing lines and wondrous shapes, all gleaming white chalk against the green sward. It doesn’t seem so long ago we were flying kites on Ivinghoe Beacon, rolling down Combe Hill’s steep inclines, or chasing across Dunstable Downs, arms stretched wide and coats flapping behind, as though we might take flight at any moment!”



And for our next runaround together, our next creative muse is graphic designer and filmmaker, Saul Bass. Have lots of bold, colourful and typographical fun!



The Kick-About #47 ‘Marriage’


Our last Kick-About, inspired by the writings of Gaston Bachelard, encouraged us to examine our domestic spaces and think about the physical and emotional parameters of home. Now, with John Stezaker’s uneasy marriage between photographic fragments as our starting pointing, we’re exploring issues of identity, affinity and discord.


James Randall

“Life can be scary – survival of the fittest – relationships can bring together different strengths, and if nothing more, give you the courage to bungle on. My image is simple – a river pushing dangerous detritus along – life. I was wanting to have an overlay of two figures swirling about and holding hands but it was too naive looking, and too complicated with the background, so I struggled to find an alternative representation. The lines represent two different shades of people (a couple – sorry such a vanilla representation of marriage) and their individual positive qualities merging to form a barrier protecting the couple from the detritus. The ring blur demonstrates how marriage can soften the edges of thorny life. The colour is joyous (I hope) as marriage is to me (if a lot quieter.)”



Charly Skilling

“When I started looking at John Stezaker’s ‘Marriage’, the thing that struck me most was that ever-present straight line running through each image, often more than once  Was this the joint where two personalities dovetailed? Or a boundary line, safeguarding  personal territory? Are people diminished by marriage? Or magnified? So I started thinking about some of the models of marriage I’ve come across. and came up with some ‘Marital Maths’.”



Kerfe Roig

“I’m always doing that surrealist kind of thing with human bodies and collage so I decided to try something different.  I liked the idea of using one or two inserted elements, as my work is usually much more complex.  Instead of using classic film stars I decided to use the work of classic painters.  I took Van Gogh’s “Starry Night”, cut it up, and inserted it into works by Monet, Gauguin, Matisse and Homer.  They work together quite well I think.”


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“I luckily came across some old toys belonging to my grandsons which were waiting to be recycled and I thought they would look great if I combined a few of them and turned them into some very strange looking creatures.  This then inspired me to do some collage using some old photos and magazine cuttings to create some more fantastical beings, which looked like they had sprung from the pages of a Marvel comic.”



Vanessa Clegg

“By putting two different images together Stezaker seems to create a third dimension, so, ‘sort of’ following this train of thought I’ve dovetailed two extreme scenarios on an old alarm clock set to silent. (Another thought.. weren’t the lurid green numbers painted with something containing uranium to make it shine in the dark?).

Scenario 1: Apocalypse – midnight on the doomsday clock. A young girl runs for her life, her clothes shredded, the sky dark, as a mushroom cloud reaches the stars.

Scenario 2: The clock strikes twelve. Cinderella flees from the ball as her coach, horses, footmen and dress disappear in a puff of pink smoke…the fairy Godmother waves her wand… Abracadabra!”


vanessaclegg.co.uk


Phil Cooper

“A strange and unsettling prompt this time. John Stezaker’s work stirs up a variety of different feelings when I look at them, feelings that are quite difficult to articulate. There is something about the violence of cutting up a picture of a human face that makes such images as ‘Marriage’ quite a visceral experience for me. I can almost feel the slice of the scalpel, and I wince at the thought of accidents and slips with the knife; as an artist who uses collage a lot in my work, I’m well used to my hands sporting at least a couple of plasters covering cuts and scrapes.

Stezaker’s portraits also make me think of Francis Bacon paintings, of how he attacked the faces of his sitters in paint, carving them open with the brush to create images that look like something from a butcher’s shop window. I’ve gone down a similar route with my Kick-About response this week, cutting up photos of glamorous people from glossy magazines, smearing their faces with oil pastel, and mangling them further in Procreate to make fractured images of half-remembered nightmares.”


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Graeme Daly

“Because Stezaker drew inspiration from dadaism and surrealism by kitbashing and appropriating images into bizarre collages, I decided to splice together some absurdities in a fun, no fucks given kind of way – all images nicked from the public domain, of course.”


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Phil Gomm

“All of this began simply enough: try and construct a new face from fragments in a Stezaker-style, and in so doing, seek to produce something as unsettling as some of the photographer’s sepia chimeras.

Reaching for the remainders of some nylon tights and toy-stuffing left-over from the very first Kick-About, I set about sewing together a new face around the shell of a white balaclava. I wanted to produce a fine-art object, as opposed to anything too illusionist, something a bit deconstructed, with its seams showing and the fact of its construction left conspicuous. In this, I looked to Stezaker’s own collages, which likewise make no secret of their provenance of different parts.



“The head-thing fabricated, I then left it about the house, like a thing left behind or dropped, and photographed it in situ. At times creepy, and at other times just rather sad-seeming, this quickly-produced face-of-bits kept accruing personality and the uncanny ability to seem life-like, even in spite of its obvious anatomical imprecisions and sticky-out bits of thread. That’s the thing about faces, I suppose – even the ones fashioned badly out of tights and Kapok; we can’t help relating to them.”



The other bit of the prompt I was interested in was the title of Stezaker’s collages, ‘Marriage’: I happen to be married to someone who is willing to share his home with a disembodied head, and the guy who made it. These last photographs are for my husband, Paul, by way of reassurance: however weird things get, I’m still right here and laughing my arse off.”



With many thanks to regular Kick-Abouter, Marion Raper, we have our new prompt, the work of contemporary textile artist, Louise Baldwin. Have fun.


The Kick-About #45 ‘Splendor Solis’


From the effortless, airborne whirligigs of our last Kick-About together to another transmutation of matter into something elemental and illuminating! For this week’s creative challenge, we’ve been in the business of summoning the sunshine, and, at risk of seeming self-serving, I want to give special thanks to Gary Thorne for his contribution, which has something nice to say about all these continuing acts of creativity of ours, and the light they bring.


Vanessa Clegg

“I was thinking what could be the most ‘alchemical’ transformation imagined? What on Earth happens in those tiny parcels called the chrysalis? From the juicy tube of a caterpillar, wrapped tight and left to transform, an entirely new creature is made: the butterfly, drying and pumping its wings in the sun, a symbol of summer. The image is upside down, as I wanted the cases to look like ‘sort of’ vessels, with the butterfly levitating and held by one antenna; the dark and the light existing together.”


vanessaclegg.co.uk


Charly Skilling

“I have tried to capture the colours and shapes of the Sun, as depicted through centuries of astrological and alchemical treatises and depictions. It was much aided by photographing in the bright clear sunshine of an unexpectedly lovely January day.”



Tom Beg

“Of all the imagery in Splendor Solis, what amused me the most was the theatricality of three-headed dragons, peacocks and a menagerie of other bizarre things magically appearing in bottles by the presumed mixing of various materials and more than a bit of a hocus pocus. I decided to conjure up some of my own alchemic creations and create something a bit fantastical.”


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Phil Cooper

“I was making a collage earlier this week, painting textured papers to make the raw material and then snipping and glueing into place for the final image. When I’m working with collage, the papers and leftover cuttings get strewn about the floor and quickly build up to form drifts of scraps around my feet. While I was making, from time to time, I’d muse on the beautiful Splendor Solis prompt, and what I might make for this week’s Kick-About. 

I started to focus on the transmutation of alchemy, and so turned to the flotsam and jetsam surrounding my desk as I was messing about with collage. It’s a medium I enjoy working with for many reasons, mainly for the surprising juxtapositions that can emerge as I put one piece of paper next to another; effects that would never have happened if I’d tried to direct painting. When it works, it’s transformative, the separate elements of the collage become more than the sum of parts and something new is created. 

So this piece is using up some of those paper scraps that have been generated by my work earlier in the week. Using the alchemy of collage, I’m reflecting on the rather everyday, mundane alchemy that we’re all doing all the time; how our thoughts, words and actions ripple out into the world, influencing and changing things, sometimes dramatically, sometimes subtly.”


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James Randall

“My pic was born a couple of days before the KA announcement but I thought it fitted in – colour if not theme. It’s about how we are just ‘other’ animals – not nearly as clever as we’d like to believe. It is also to do with male sexuality (cue an old book “Sex On the Brain: The Biological Differences Between Men and Women”). I added a couple of quick sketches fully in response to the KA.”



Marion Raper

“It’s been a hard 2 weeks at the office! I have tried various methods to obtain my Eureka moment – one of which included getting up at 5.30am to capture the sun rise ( which when it happened I seemed to miss!). Eventually I decided to use a sacred geometry and alchemy symbol and copied the design using black threads on a painted background. However, being a ‘perfectionist Virgo’ I was not content with the result, so I then spent some time adding various bits of crochet , threads and material scraps from my ‘magpie stash.'”



Kerfe Roig

“Thanks for the introduction to this wonderful book!  I could have gone on and on time permitting, and will keep it in mind for future expLorations. Out of the 22 images of the Splendor Solis, I chose to work with Plate 2, The Alchemist: “Seek the Nature of the Four Elements”.  First I did a collage based on the painting alone, then, after reading a bit about its symbolism, I made my own, looser interpretation.  I was especially drawn to the Alchemist’s connection to the natural world, in particular flowers and birds, and his alternate identity as the Deity of Celestial Light.”



The Alchemist

Below my feet the path waits
for the earth to open me–
the layers of brown and green
remember the moon, its circles
orbiting continuously
through both dark and light.

The chill of morning warms
to birdsong. The seasons
endure.  In spring the autumn
seems far away, but life is
always preparing to die
and start all over again.

What is the secret of transformation?–
ancestors embedded in every root,
in every branch rich with leaves
that will blaze in a sudden last glory–
nourishing what follows
with what has come before.

We know so little, after all,
of the workings of nature,
of its consciousness.  Does it
even have yesterdays or tomorrows?
Does it acknowledge return, or is all
but a single endless moment in time?

We mirror our own inner maps
as stars–the dust of elements
contained in our bones–
merely vessels, seeking
the essence of who we are
inside the question itself.


kblog.blog / methodtwomadness.wordpress.com


Phil Gomm

“So, how to conjure an astronomical phenomena into being in a short space of time, when access to fusion reactors, rocket-ships or celestial wormholes is otherwise unavailable? There’s a part of me that wants to keep the whole process behind these photographs as mysterious and unknowable as their subject; another part of me can’t wait to tell you I quite literally put a source of light into a glass vessel and then gave it a bloody good shake… light and time producing an alchemy all of its own.”



Gary Thorne

“When in the period of the Post-Covid, people’s minds were waking from the long sleep of darkness, Phil Gomm, one of the well known Adepts of Inspiration, went forth (with his followers) in further search of that secret knowledge, the possession of which leads to Alchemical Adeptship for the Truely Motivated. Let those, lost in times of darkness, reflect on the reputed works of the KA Adepts, to ignite their own transformation.”


linkedin.com/in/gary-thorne


And for our next foray, ladies and gentlemen, a few expansive words on the theme of home and habitations from the likes of Gaston Bachelard…


The Kick-About #43 ‘The Night Before Christmas’


Our last Andy Goldsworthy-themed Kick-About together inspired some winter wonderlands (and some much less wintry offerings too, courtesy of Brisbane-based artist, James Randall). For this, our last creative runaround of 2021, we’re keeping things seasonal, with an illustration by Arthur Rackham for a festive classic. Enjoy this showcase of new works made in a short time, and wherever you are, and whoever you are, I wish you and yours all the very best. “Merry Christmas, one and all.”


Gary Thorne

“I jumped into this sweet text with no clear ideas, so dug out my favourite Pelican fountain pen and began a repetitive process of re-writing the narrative onto lightweight card cut to 140cm lengths. On completion, to counter the banality of what I’d done I re-wrote it, word-for-word, in free-form graffitti style; less mind-numbing, yet still clueless as to the intention. Days later, in woodland, I happened upon a magnificent, towering, perfectly-formed evergreen. With willow twigs in-hand, and the echo of Goldsworthy, I then attempted this balancing act. It may not be towering at 150cm, unless perhaps you’re that mouse not stirring on Christmas Eve. May all Kick-Abouters enjoy a healthy and happy holiday.”


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Tom Beg

“It’s the season of giving gifts, but these days it’s more like the season of GIFs for me. I’ve been making a lot of quick fire animations in my spare time, and producing some looping Christmas tree things seemed quite natural. I think this one is suitably high-tech but festively cheesy at the same time.”


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Kerfe Roig

“The night sky needs no man in a red suit, sleigh, or reindeer to inspire wonder.”



What To My Wondering Eyes

the night lengthens
into hours that refuse to pass

the stars grow larger,
constellations singing

suddenly a bridge,
a ladder made of light

silence becomes a dance,
its ancient steps retraced

the circle keeps its promise–
a child will lead the way


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

I have taken some artistic license with this Kick-About, and you must imagine that it is early on Christmas Eve when the light is just starting to change before darkness falls. The weather is cold and there has been snow a few days earlier, which is now slushy . This young boy’s mother has said, ‘Hey Jack. Can you just run up to the woods and bring us back a little tree to decorate tonight? Your father’s so busy at the farm he’ll be exhausted by the time he get’s home and your brothers and sisters are so excited and can’t wait to start decorating it. I’ll never get them bathed and into bed asleep before Santa comes tonight!’ Christmas Eve is such a magical time and there is so much to do that it always flies by before you know it.



“And wishing all the Kick-About gang a relaxed, leisurely Christmas and a healthy new Year – artwork courtesy of Toby, my youngest grandson, who proudly carried this picture out from school this week.”



Phil Cooper

“The shadows in Arthur Rackham’s drawing are rather ominous, but I find there’s a spookiness lurking in so many of his images. His work is, on the surface, often enchanting and whimsical, but there’s a darkness and strangeness to them hiding just out of frame.

I’m submitting a painting that plays with similar themes for this Kick-About; shadows and light, mysterious things unseen, and a prickle of unease. I don’t know what’s going on behind the topiary here, perhaps somebody burning rubbish on a bonfire, or a streetlamp, or maybe something else…”


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Graeme Daly

“Not much from me today, as I did these quick sketches on the journey to Stansted airport on my way back to Ireland! I couldn’t get over the eerie nature of Rackham’s scratchy shadows! I found his illustration horrifying – in the best way! For me, Rackham’s art always veers towards that polarising view of what is ‘charming’, where it is uncanny and not quite right. There’s something about the blackness of the line work, particularly with the scratchy shadows, and the way the sickly stained walls progressively get more bruised towards the top; making me think old Saint Nick isn’t as jolly as it’s told, and could be hiding in those shadows, ready to unhinge his bearded jaw and gobble up those kids as they run right up to him… ‘He sees you when you’re sleeping, He knows when you’re awake…'”


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Charly Skilling

“I grew up in a very tall, very dark, very cold Victorian house, and although Arthur Rackham‘s drawing was done a quarter century earlier, the image instantly brought all my childhood fears back to me. There were shadows everywhere and permanently icy draughts that stroked the back of your neck, and then savagely slammed any door you were unwise enough not to shut securely behind you. It was great in daylight: high-ceilinged rooms and long corridors, changing floor levels, and plenty of hiding places. But when the night drew in…”


You you can find a PDF version here.


Vanessa Clegg

“I was thinking of the brilliant film, Nosferatu, with the shadow of the vampire climbing the stairs then put that into the traditional snack left out for Santa! Enjoy Christmas everybody, however you choose to spend the time. Have fun and keep cosy.”


vanessaclegg.co.uk


Phil Gomm

“On Christmas Eve in our house, there was always a tradition of telling ghost stories just before bed, often with a flickering candle for a bit of Dickensian ambience. Sometimes the stories were read from a book, but often they were created by the family itself, each of us taking it in turns to make up a new bit of the story, before letting the next person continue it, cliff-hanger by cliff-hanger. Mostly, these descended into fits of giggles, as my brother and I failed to resist the temptation to slip rude words into our respective sections, and by ‘rude’, I mean words like ‘bum’, and ‘knickers’. *Snicker*.

Christmas Eve has always had this touch of spook about it, and I think my sensitivity for this peculiar atmosphere predates any knowledge of Scrooge and his ghosts. It was just a night with an imminence like no other. Rackham’s illustration of these three boys heading up to bed captures this feeling very precisely; it’s there in the contrast between their cherubic faces and what is not so angelic about the rendering of their shadows on the wall behind them. I thought this a perfect opportunity to revisit that childhood tradition of a Christmas ghost story.”


You can find a PDF version here


James Randall

“Thanks Gary Thorne for your good advice to take a sub-tropical approach. And so I landed on the hot nights when the heat spins about you as you search for the numbness of sleep. I could have used a darker palette for night. I had the Christmas excuse to use the gold paint that I was too conservative to use previously – wish I could share the metallic on screen. So as the year darts to a close thanks to all of you wonderful KAers and your inspirational works. They amaze me every week and make me want to try harder to capture some of your spark. May you all have a wonderful Christmas and a healthy happy 2022!”



Courtesy of Kick-Abouter (and artful Christmas Tree wrangler) Gary Thorne, we have a new prompt to carry you through those moments when, despite all the food and other festivities, you’re twiddling your thumbs and wish there was a classic example of mid-Century kinetic art to inspire you…



The Kick-About #42 ‘Ice Spiral’


After our short city break for the KA No.41, we’ve taken a brisk, bracing detour out into the wintry countryside, where we encountered Ice Spiral by the celebrated land artist, Andy Goldsworthy. Enjoy this latest collection of artistic responses to Goldsworthy’s fleeting installation of ice, light, place and form.


Graeme Daly

“When I felt the cold from this week’s prompt, I wanted to recollect the bitter winter in rural Ireland from last year. When I look at these photos, all I can think about is miniature vistas frozen in time: pocketed air bubbles, mimicking silver dollar plants, are trapped among planes of ice like tiny moons; milky swirls of frozen water interjected with brambles, which loop in and out like a serpent on the hunt, and if the camera panned up, something would surely arise from the mist!”


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


Phil Cooper

“Right on cue for this more wintry Kick-About prompt we actually had some snow yesterday. I woke up to a blue opalescent sky this morning and a white frosting over the ground, ice crystals twinkling on every twig and leaf. It was lovely.

I like Anthony Goldsworthy’s ephemeral land art interventions, especially the snow and ice work. They are so striking, but they disappear without a trace so quickly, with only the photographs remaining as evidence that anything happened. He transforms what he finds in the landscape, and it’s this transformational thread running his work that’s caught my attention.

I was out cycling through the forest on the outskirts of Berlin recently and, with the Goldsworthy images in my mind, I tuned in to the natural processes of transformation that were going on in the woods; everything was changing constantly, some things quickly, like the opening of a flower, and some things very slowly, such as the decaying of a fallen tree, or the erosion of pebble. The trees were all in different stages of their life cycles, from tiny saplings to great fallen giants.

I’ve focused on a tree stump for this Kick-About. The tree itself has gone, but the remaining stump has become home to a host of other life forms – moss, fungi, insects – that step into the gap left by the tree, adding their own voices to the story of the forest. Water crystallising into ice adds another momentary layer of transformation over the surface, changing the top of the tree stump into a tiny winter wonderland of frosted sculptural shapes.”


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Charly Skilling

“I couldn’t rustle up any snow or hard frosts, so I settled for capturing a winter sky in the cupped hands of a friendly neighbourhood tree.  Really enjoyed this Kickabout!”



Phil Gomm

“Although the weather has turned much colder here in the UK, it’s not yet cold enough here in Whitstable to produce or happen upon any Goldsworthy-esque installations out in the wild. No matter, as off into the garden I went, looking for interesting seed heads and any flashes of remaining colour, before pulling out some handy Tuppaware and a big Pyrex dish, filling them with water, then entombing my finds from the garden in ice, courtesy of the bottom drawer of the freezer. Once released from their adhoc moulds, I then moved quickly to photograph the resulting artefacts, squizzing with pleasure at their magical displays of colour, light and translucencywhile all the time mopping up the pools of melt water with an old dishcloth.”



Tom Beg

“I wanted to jump into the magical spiral of the prompt image as if I was travelling into the eye of a storm. Eventually I got these suitably frosty and rather sinister effects. Not so much Christmas morning whimsical but more like an icy maelstrom.”


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Kerfe Roig

My first idea was to do something with layering ensos, but it looked too stark. Then I monoprinted over them, which I liked better, but it again seemed unfinished. I decided to cut them out and put them on a collage landscape – still not right – so I stitched over them. Not happy with that either. Turn the collage over, and the stark stitching is better: maybe I should have just stitched? At any rate I have some spirally circles and a collage, which I’m sure I can incorporate into something else somewhere down the line. They have a wintery feel anyway.


kblog.blog / methodtwomadness.wordpress.com


Gary Thorne

“Off Faversham’s Western Link are woodlands and ponds offering willows of sorts. There’s a thrill in avoiding the required week-soak, instead cutting and speed crafting, playing with irregularities, and breaking craft rules to solve structural issues. It’s a great craft for keeping warm. (No eggs were poached in the making).”


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Jan Blake

“I love the simple yet complex nature of this work from Andy Goldsworthy, the ephemeral quality and the beauty of their creating. It takes me back to making daisy chains, playing with mud and making sand sculptures on the muddy expanse of Weston Super Mare as a child. I’m still playing, and have been intrigued by making these sculptures from the unlimited supply of cardboard boxes in every street and doorway. I started this in 2011 and the possibilities are endless. For me ,the fact that I could create a structure that becomes delicate and organic, and see-through in certain circumstances due to light from behind, has continued to intrigue me. For this Kick About I have just continued work I was already involved in that happened to be exploring the possibilities of spirals and fossils within the escarpment of the Pyrenees in Spain. The fossil had been given to me by a friend. I’m also including the outcome of this exploration with the spiders web that were strewn across my garden every Autumn.”