The Kick-About #22 ‘Eugen von Ransonnet-Villez’


After the deep intellectual waters of our last Kick-About together, we find ourselves submerged once more, joining Eugen von Ransonnet-Villez in his submersible. It’s a bit of squeeze in there, not least because I’m happy to welcome two new kick-abouters into the mix: Jackie Hagan and Brian Noble. All aboard!


Phil Hosking

“This image started with a really quick thumbnail sketch that still contains the looseness in its final form, which I like. Thinking about Von Ransonnet-Villez’s contraption, and marvelling at the man’s ingenuity and dedication to explore for sake of art and science, I began to think about the experience of the sea life that was seeing this bizarre contraption in their domain. I switched the view to something where I could set the scene from a fish’s perspective, allowing me to look up into the submersible, and in the process give a bit of drama to what must have been quite a long and claustrophobic experience. Bit of artistic license used on the design of the submersible. I’m sure Eugen wouldn’t have minded.” 


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


Jackie Hagan

I was struck by the delicately populated reefs depicted in Ransonnet-Villez’s underwater paintings, which led me to wonder what he would have made of the shocking fact that, according to MEPA,  90% of the corals around Sri Lanka are now dead.  What would he see if he had been able to submerge in his diving bell today?  A sea full of plastic? Or maybe not, micro-plastics being the invisible killers that they are…

Falling into the rabbit-hole of research (yes, I should be working!) led me to discover scientists have set up an EU funded project called GoJelly, (https://gojelly.eu/about/) which is exploring scooping out blooms of jellyfish and using their slime to trap and remove micro-plastics from the oceans.  But what would happen if the jellyfish fought back?  Prehistoric creatures digesting the most modern of pollutants… And so I present, Scyphozoa plasticus.”



Francesca Maxwell

“I didn’t know about Eugen von Ransonnet-Villez artworks and I am glad of the introduction. Most of my work is about the sea in one way or another. I was born by it and miss not been near it, so I paint it instead. Here is a bit of fused glass I did of a jellyfish. Wonderful, translucent and clever things they are.” Fused Glass 30 x 28 cm.


www.FBM.me.uk


Phil Cooper

“I didn’t know the artist Eugen von Ransonnet-Villez before I read the kick about prompt, but a couple of clicks later and I was fully immersed in his underwater world and liking it a lot. The images conjure the excitement of exploration, and stepping out of the comfort of the shallows into stranger worlds.

The underwater paintings brought back memories of summer swimming for me. When the weather warms up we spend many afternoons in the lakes in and around Berlin. At the very best spots you can swim through crystal clear turquoise water amongst the water lilies with dragon flies buzzing about your head. It’s really lovely. A while back, I made a couple of studies based on my impressions of those swims and they seemed to fit the bill this week.”


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


Jan Blake

“Here are my thoughts on Eugen von Ransonnet-Villez and his underwater paintings. I love the murky otherworldliness. My only experience of looking under the water was a trip to Malta many years ago. Crystal clear water and no murkiness or pollution at that time. It was magical, and I don’t know why I’ve not taken up snorkling again. It seemed a natural progression from the last Kick-About, that I retrace the possible journey of my Sea-heart pod back to where it may have started in the Gulf of Mexico. There were such a lot of possibilities, from barren wastes left by oil spills, to underwater forests left from the ice-age, and then the most extraordinary plants that live on the coral reefs. This is one of the richest areas for unusual sea life anywhere in the world. So what a trip my pod had! Here are the first two images of the Gulf of Mexico, followed by imaginary images through the windows of a submarine, as a bit of an after thought / diversion / intrigue?” .


Getting going out of the swamps into choppy waters over the sunken forests.’

A slower rest in the shallows or the coral reef.’

A chance glimpse through the submarine port holes of my imagination.’

janblake.co.uk


Tom Beg

“Walking around the backstreets of Yokohama feels a lot like being underwater sometimes, so here it is imagined as a sunken, murky city with concrete coral reefs and caverns.”


twitter.com/earthlystranger / vimeo.com/tombeg


Phil Gomm

My original inspiration for tackling the latest Kick-About prompt was imagining what it must have been like for Ransonnet-Villez inside his submersible, looking through the thick greenish glass of his porthole and out onto the ocean floor. I guess I was more interested in thinking about the distortions produced by looking through the glass, and how they’d add a certain otherworldliness to the painter’s underwater subjects. There is a mundane secret at work behind the resulting photographs – a simple set-up reframing a collection of household objects and pushing them towards a sort of bubbly and aquatic abstraction. Producing these photographs proved immensely addictive – play by any other name.”



Brian Noble

“I started fly fishing 35 years ago, although it wasn’t until I started sketching and painting fish that I began to observe both the above water landscape and the underwater landscape while spending time on the water fishing. I soon discovered that examining the natural landscape of creeks and rivers caused me to pause and reflect upon the environment I had found myself so immersed in. Studying rocks, trees, water and fish became equally important as fishing itself. I found myself considering how objects appear both above and below the water, and how reflected light is such an important factor in how these objects are presented. I have recently started using an underwater camera to capture some of these images to use as a resource for my sketches. Personally, I find fish to be an intriguing life form – how they hold still, swim, secure food and seek shelter. The natural curves of a fish bring a sense of calm and beauty that I appreciate and strive to recreate in sketches and watercolor paintings.”


flowingwaterart.ca / linkedin.com/in/brian-noble


Marion Raper

“I had a fun time with this and decided to do an underwater collage.To start with I tried a bit of marbelling on Yupo paper and using acrylic inks.  It turned out so beautifully, I couldn’t bear to cut it up! It reminds me of the shapes and shadows on the ocean floor.  Next I tried making marks with water colours, using things such as bubble wrap and sponges, and scratching with a palette knife. This was also too special to chop up, even though it would be great as fish skin or scales. Lastly, I sketched a few fish and spent a very pleasant afternoon cutting and sticking my scene together. Can you spot the pepperoni pizza fish?”




Kevin Clarkson

“Not having come across Eugen Ransonnet-Villez before I was captivated by his underwater drawings and paintings, particularly since the diving bell was a new and quite dangerous piece of tech in the 1860s. He manages to capture the submarine luminescent qualities of light in his colours and textures in very convincing studies. The only quality I share with him is the desire to capture images of the sea, in my case above it, rather than under it. My association and motivation to paint the sea became the jumping off point for the Kick-about 22.

I grew up 60 miles from the sea in Yorkshire, and must have been close to 10 before I saw and splashed in it. My first interests were in the craft that sailed on it rather than the sea itself. I soon realised a drawing or painting of a boat looked less than convincing without being placed in a realistic sea, and from there my interest grew. A fascination developed with the fact the sea could change completely in the blink of an eye, colour, light and shape being constantly in motion. I was overwhelmed by the technical challenge, but as the years went by a number of “How to paint the sea” books arrived on the bookshelf. However, the process looked complicated, so the books remained on the shelf.

One day, whilst killing time between jobs, I pulled down a book that fell open at the beginning of an exercise. Almost without thinking I repeated the exercise – it worked, not a great piece of art, but it looked like the sea! I was hooked and devoured all the other exercises. It would be wrong to give the impression that technique is all you need, but it gives confidence, and if done in conjunction with careful study of the real thing, turns mere technique into art. Once bitten you never stop learning.

My images for the “Kick-About”are from a recent exercise I set with an art club I am a member of, to demonstrate technique and capture the swell of the open sea. It is certainly not the only way to paint the ocean, but I do get fairly consistent results and I have pdfs of the original exercises should anyone be interested.”


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


Charly Skilling




James Randall

“I had high hopes for a bubbled person image but felt time and concept were getting away from me, so I switched direction to bits and pieces washed up on a beach – the original photo I had in the back of my mind from 2010 had always appealed. Thanks again for a bit of kick-about fun.”



Vanessa Clegg

“This got me thinking about the state of the sea in 2021 and how poor old Eugen would be turning in his grave at the changes since he sat in his box, scooting along the sand surrounded by as yet, untouched beauty. If he were to repeat this now with the addition of temperature rise (bleached coral), pollution from plastic and chemical dumping, agricultural run off and change in salinity from ice melt, he would be sadly disappointed.

I’ve approached this simply, addressing plastic and coral die off. Tempting, however, to tie Eugen in with The Flintstones, as his submersible reminded me of Barney Rubble using his feet through the car floor to ‘motor’ himself along!”


22” X 22” Charcoal on Fabriano paper. “Empty Shell with Ear Buds.”

20” X 15” “Dead Sea”.  Photo collage with bleached coral.

vanessaclegg.co.uk


Kerfe Roig

“I’ve been futzing around with this all week, inspired by Eugen von Ransonnet-Villez, and the earthweal challenge natural forces. The painting above, my first attempt, probably has 20 painted layers. Watercolor looks very different wet, and each time it dried I was dissatisfied with the result. Eugen von Ransonnet-Villez was an Austrian artist who designed a diving bell so he could paint the landscape that existed under the sea. This was in the 1860s – both crazy and fantastic. His paintings have an eerie green magic, which was what I was trying to capture, because what is the sea but the most elemental of magic? Like Ransonnet-Villez, I wished to immerse myself inside of it. Being at the moment concrete-bound, I could only try to conjure it with words and paint.”


tides entombed in unchanging light,
reflecting the absent sky,
shimmering with intangibles–
an ancient web woven with stories–

the stilled sea contemplates its origins–
heavy with the cadences of gravity
boundaried by the afterlife–
tides entombed in unchanging light–

surrounded and asunder, astonishment
becomes tinged with enigmatic clarity–
holding particles of stars as if enshrined,
reflecting the absent sky–

the fulcrum rests inside the echo
of what endures, arising
from an aqueous womb
shimmering with intangibles–

the circle continues, horizonless,
quivering in confluence–
who can refuse the voices of the sea?–
an ancient web woven with stories–


kblog.blog / methodtwomadness.wordpress.com


Graeme Daly

“When I returned to the forest this past winter, I happened to come upon a small trench-like lagoon deep within the caverns of the forest, where the snow above was melting and gently plopping into the lagoon. The lagoon was shallow, meaning I could see the dirt, grasses and flowers filtering about in the water with the slightest movement. The glare of the crispy winter sun, projecting shadows of the spruces and firs, lit certain areas of the undergrowth in vibrant red. The trees and shrubbery reflected upon the water caused a mandala of colours to be refracted and ripple, as snow drops fell from above. Watching this was one of most pleasurable tranquil experiences I have ever had. I sat and watched this private show for a long time, and felt as though time had frozen – along with my hands. I pressed record on my camera, although I didn’t have a tripod, which meant some shakiness. It was an absolute pleasure to edit this film, and with it I have attempted to capture that feeling of complete tranquility. The song by Kris Keogh, entitled “We Were Gone Further Than Forever”, transported me back to that tranquil meditative state again, with sections feeling like time moving, flowing and reversing.”


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


Of our brand new Kick-About prompt, it could be argued we’ve been producing work suitable for the shelves of the ‘Museum Wormianum’ week-after-week. Nonetheless, I cannot wait to see what curiosities we might produce with the Ole Worm’s collection of oddities as today’s jumping-off point.



The Kick-About #21 ‘The Five Canons Of Rhetoric’


The Kick-About comes of age today, with Edition No. 21. Let me begin by saying how restorative, ordering and genuinely exciting I find our collective runarounds. Through your emails, comments and conversations, I know you value the Kick-About too, seeing it as an opportunity to make some new stuff, finish some older stuff, get something done, take risks, recreate, and get your hands dirty. It gives me great pleasure to host your work on here. Red’s Kingdom is lucky to have you. Long may we play together.

Last time, we tied ourselves in knots; even so, I suspect this prompt proved knottier.


Vanessa Clegg

“The definition of rhetoric in the little Oxford dictionary is: art of persuasive speaking or writing; inflated or exaggerated language. Based on that (with a bit of Samuel Beckett’s ‘Not I’) I’ve spliced together the opening lines of Barack Obama’s inauguration speech with a selection of Donald Trumps tweets (sections of ). Calm authoritative argument versus shouted ignorance (in my opinion!).”


“Each time we gather to inaugurate a president
I WILL NOT BE ATTENDING THE INAUGURATION!
we bear witness to the enduring strength of our Constitution,
THE ELECTION WAS STOLEN!
we affirm the promise of our democracy,
IT WAS A RIGGED ELECTION!
we recall that what binds this nation together,
SORRY LOSERS!
is not the colours of our skin, or the tenets of our faith or the origins
of our names,
WE’RE GOING TO BUILD A WALL!
what makes us exceptional, what makes us America
AMERICA FIRST! AMERICA FIRST!
is our allegiance to an ideal articulated in a declaration made more than
two centuries ago.
MAKE AMERICA GREAT AGAIN! MAKE AMERICA GREAT AGAIN!
We hold these truths to be self evident, that all men are created equal;
FAKE NEWS!
that they are endowed by their creator with certain unalienable rights;
BULLSHIT!
that among these are life, liberty, and the pursuit of happiness”
STOP THE STEAL! STOP THE STEAL!


vanessaclegg.co.uk


James Randall

“Rhetoric – it is what it is.”



Phil Cooper

“The prompt this week made me think about the creative process, my creative process, something I don’t usually spend much time contemplating. What does my creative process actually involve? Which parts of the process am I good at, and which parts do I find uncomfortable and hurry past? What is my – and I recoil slightly from the earnestness of this word – practice? I’ve found stepping back and considering how I approach my work a useful exercise. For this Kick-About, I’ve tried to take a photo that includes some of the steps I might go through in making an image; there are sketches, with some of the quick drawings that are often the very start of the process for me, then painted papers I make to provide the raw materials for my collage work, a collaged blackbird taking shape, and also a finished image of a wintry landscape with a barn owl, plus reference books, poetry and other stuff I might find that sparks inspiration. Birds provide a good, if rather obvious, metaphor for this process; sometimes the idea flies, sometimes not….”


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


Tom Beg

“I thought the five words evoked something mysterious, something unseen and a bit psychological. Mostly I was inspired by the patterns and colours MRI and CT scans produce as a way of visualising how our brains react to a specific emotional response or biological function. In this case, the triggers being inventio, disposito, elecuitio, memoria and pronuntiatio, and a very abstract visualisation of those words. I have my own ideas about which of these images represents each of the words, but in the end I thought I would leave it up to the viewer to come up with their own interpretation of the order.”


twitter.com/earthlystranger / vimeo.com/tombeg


Charly Skilling

“Once I had got over my initial panic on reading the ‘5 Canons of Rhetoric’, I read a bit more on the subject and realised what was being described was a process – a process which could be applied to many creative endeavours. The stages may have different emphases for different types of creativity, but (it seems to me) the principles remain the same. I decided to test this hypothesis by applying it to a much humbler craft than oratory, but one that I know well. Below I have tried to show the 5 canons applied to the process of making a crochet blanket, from initial idea to finished piece.”



Kerfe Roig

“My mind glazed over as I read through these rigid and formal ways of organizing communication. Of course the word rhetoric has multiple meanings, the first of which, is “(in writing or speech) the undue use of exaggeration or display; bombast”. Something we all been over-subjected to of late. What is true of all the definitions is that rhetoric involves the use of language.

One synonym given particularly caught my eye: ” balderdash–senseless, stupid, or exaggerated talk or writing; nonsense”. The word nonsense immediately made me think of the surrealists. The surrealists felt that letting go of the need to control your creation would reveal deeper truths. This was true of both visual and written art. They rejected logic and reason. I often use surrealistic techniques for both my art and my writing. I’ve been doing Rorschach images for awhile: these little cards are done by dripping the leftover paint from my watercolors onto the card and folding it in half. Usually the layers are done in several sessions. I also compose comments for my images using words and phrases I’ve cut out of magazines and advertisements. I limit myself to what’s contained in one envelope for each card, and often spend quite a long time choosing and arranging them. I call it ‘the collage box oracle’, as it’s similar to using magnetic poetry. I was originally inspired by Claudia McGill, who is a master at this technique. I’m usually surprised by what appears. It always makes me think.

I first scanned in just the images, and then worked on the words. When I went to scan them, I realized I had changed the orientation of the image in half of them. Another unexpected surprise. Surrealistic Rhetoric has no pretense to being anything but a random arrangement of words, but somehow manages to incorporate at least 4 of the classical canons: invention, arrangement, style, and delivery. As to memory, well, canon #7 deals with that.”


The Eight Canons of Surrealist Rhetoric

Is there anything more archetypal than nothing?

Space is just energy deconstructing.

You expected evolving to be more complex.

Adventure awaits beyond the details of yourself.

Fools rush into the shadow of the projected image.

I was invented from the earth’s fertile surfaces–
otherwise my unlimited nakedness would be alarming.

My plans are to forget to remember.

There was a window from the start—simple and mysterious–
imagine looking through it to what is hidden between.


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“I was intrigued to learn about the new archaeology regarding Stone Henge, whereby they have discovered that an ancient stone circle at Waun Mawn in Wales was the original prototype. I decided there must have been one farsighted individual who used his power of rhetoric to persuade his Neolithic mates to help him with this great project over 3,000 years ago. So…”


‘We don’t need to hide ourselves away in this Peat Moor as a second rate team. We could be top of the league! Let’s show them what we can do. You know those huge blue stones lying around the pitch everywhere? Well,why don’t we move them to Salisbury Plain! It won’t be difficult to get them there – it’s only a stones throw, of about 150 miles. We’ll get some of the local lads together and roll them there on timber sledges. No sweat! Then we’ll have a Rave – a Pop Festival – around Midsummer say. I’ll see if I can get some class acts like The Amesbury Archer or The Boscombe Bowmen. Those blue rocks have great accoustics! We’ll have a game, a few jars, a bit of stargazing and then watch the sun come up! They’ll be gobsmacked for years to come! It’ll be epic! What d’ ya say?’



Jan Blake

“The Five Canons of Rhetoric. Well, that made me think about where I’m at! 1) INVENTIO – I have a passion for seed-pods. They are my inspiration. 2) DISPOSITIO – I selected 5 from my collection. Nigella Damascena, Physalis Peruviana, Wisteria Leguminosae, Magnolia Grandiflora, Entada Gigas. Five was overwhelming, and they all had a story to tell, and despite spending time drawing them, with real attention to their individual personalities, I kept being drawn to the shiny black pod in the middle that fitted so deliciously in the palm of my hand. When I looked it up, it was certainly of the pea Family. I found a clue online .. it could be a Sea-Heart, a pod that drifts across the world. It comes from a vine that scrambles through trees in tropical areas of vast size, the biggest and most extraordinary of the pea family, also known as the Monkey Ladder. I had to find out, so I rang the friend who had given it to me on a very special birthday a few years ago.

“Where did you find it?’
“On a beach in Donegal.”

Jackpot! 3) ELOCUTIO – I had discovered where it may have come from and where it landed: from the Gulf of Mexico, along the Gulf Stream’s warm currents, to land on the sandy, windswept dunes of Donegal on the West coast of Ireland. It’s an intriguing pod, beloved of sailors, who hung them round their necks when on a treacherous sea voyage to keep them safe, and also made into snuff boxes, and decorated in Africa with wonderful designs as a gift. So I took the story, took elements that suggested shapes suitable to travel from the other pods into its story 4) MEMORIA! The final piece is too sketchy for 5) PRONUNTIATO! but it satisfied my ever-growing wanderlust for returning to Mexico to see the Monkey Ladder growing!”


janblake.co.uk


Phil Gomm

“I wanted to engage with the prompt as it related to the idea of moving from an initial instinctive idea to something recognisably cogent and complete, and communicated successfully to others. I chose the pangram, ‘The Quick Brown Fox Jumps Over The Lazy Dog’ because, in its use of every single letter in the alphabet, I thought I could argue it was a single sentence encompassing every other English language idea possible; every book, every song, every poem, every philosophical treatise, every argument, and so on. As the animation goes on, you see different ideas vying for representation and moments of indecision, flashes of inspiration – helpful and otherwise – and a final resolution of the phrase we can recognise collectively as ‘right’.”



(There is some pesky pixelation due to compression in this Vimeo version: with a bit of luck, you’ll find the original video to view hosted here).


Gary Thorne

The subject matter has been in the back of my mind for a while, yet I haven’t had reason enough to do it, until now, so thanks Kick-About. The subject is myself (James Randall is owed credit here), organisation spans 1957-2021, clarity of intent seems to arrive through the preceding years, as things add-up, and delivery is through my favoured medium – oil on prepared paper, 20x20cm each.


linkedin.com/in/gary-thorne


Courtesy of regular Kick-Abouter, Marion Raper, we have our all-new prompt, the art, life and times of the Austrian painter, Eugen von Ransonnet-Villez. Diving-bells at the ready please!



The Kick-About #19 Art Forms In Nature – Ernst Haeckel


Following the simple, unadorned charms of our previous still-life inspired Kick-About, in which we were encouraged to turn our creative attentions to objects rather ordinary and domestic, this week’s edition is a good deal more fanciful. With Ernst Haeckel’s Art Forms in Nature as our collective stomping ground, we’ve generated between us a veritable coral reef of different ideas, processes and creativity.


Simon Holland

“Haeckel’s images have that other worldly alienness of the microscopic, to me, they tread a line between the interspatial and the outer spatial. With this image I started “riffing” in Maya with repeated forms, influenced a little by Hebrew descriptions of the Ophanim. With a bit of “evolution” a tiny bit of “Interstellar” and a smidge of “Event Horizon” I ended up here.”


twitter.com/simonholland74 / corvusdesigns.blogspot.com / instagram.com/simonholland74


Charly Skilling

“As regular Kick-Abouters are probably aware, I’ve been playing around with freeform crochet off-and-on throughout these last few months. First I tried faces, then a whole new world, and then the use of crochet to visualise forms from different environments. I had also started to play about with mathematical forms, and I came across the work of Christine and Margaret Wertheim. (Check it out. It is mind-blowing!. I had to have a go. The Kickabout 19 gave me the perfect opportunity to put some of these ideas together. If Ernst Haeckel reveals art forms in nature, what better example than the myriad forms and colours of a coral reef? I just loved this Kick-About. Great fun!”




James Randall

“Ernst had me take a few snaps of garden toot – nigella, poppy and rocket (or is it arugula over there?) seed heads and some other scraps in a vase on a rainy day. Low light and not much in focus but I think moody.



And one little gauche pic – no husband, it is not a pumpkin!”


Tom Beg

“I imagine these images (created by mashing together a bunch of images and outputting them through different software) as explosions, atoms, cells, planets or even galaxies seen in their most embryonic stage, viewed through some impossibly powerful microscope.”


twitter.com/earthlystranger / vimeo.com/tombeg


Vanessa Clegg

“I’ve admired Haeckel’s work for years but had never really researched the man. A surprise was in store… which made me see it in a very different light. He was a eugenicist/scientific racist believing in both the superiority of German culture/ race and monism (represented as a circle with a central dot). This guided my response. I decided to find beauty in the…so called…imperfect, which, to me, has always been a more interesting area to explore: dusty dead insects picked up in my studio, broken / found objects, scratched and stained surfaces, ageing skin… all this evidence of life long lived… so many layers of history.”


Charcoal on Fabriano. 30” X 22” / Crayon on Fabriano. 19” X 19”

vanessaclegg.co.uk


Phil Cooper

I’ve been a fan of Haeckel’s work for many years. In the mid-1990s I used to work in Covent Garden, in London, and there was a wonderful shop selling books of source material for artists and designers. There would usually be a volume of Haeckel’s images in the window, with a cover illustration of strange and otherworldly creatures.

Haeckel’s prints are an absolute marvel. They record every, tiny detail of each subject with such laser-sharp intensity, an intensity that gives the images a uniquely mysterious and odd quality. In fact, many of the images are quite nightmarish to my mind. What may be harmless sea creatures often seem to have spikes, tendrils and/or tentacles. There are creatures here that remind me of The Thing, when it gets the dog in the kennels...

At the moment there is a jam-jar of twigs and berries on my desk, gathered on a winter walk in the woods just south west of Berlin, not far from where Haeckel was born, it turns out. So, I’ve photographed them for the kick about this week and played about with the images a bit to try and draw out some strangeness. Nothing as remotely strange as a page of Haeckel drawings of plankton though!


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


Marion Raper

“As per usual I am torn between going down a textile or a painting route with the wonderful art of Ernst Haeckel. Oh, how I wish we had been given such fabulous ideas and examples for study back in the O level days! But hey, it’s never too late and the Kick-About and lockdown is a great opportunity to make another run at the tape, so to speak.

These last few weeks I have spent many hours trudging through soggy woods and finding lots of examples of lichen and leaves. Around my area, Oak and Beech are prevalent, as they don’t rot away easily. Consequently the woodland paths seem to shimmer and shine in the wet and make wonderful shapes and patterns underfoot, which I have tried to capture in acrylics. My other submission is using various stitches, beads and shells depicting an underwater scene I did a while back.”



Jan Blake

This was a curious Kick-About, as the subject matter was immediately attractive to me, mainly because the sense of patterning and natural forms has always attracted my attention. I saw this tower of watch parts in a workshop window in Bristol last week and it reminded me of the images of Ernst Haeckel.

However, in my own work it flows between 2 and 3 dimensions. The desire for me is not so much the patterns as the incongruity and movement in the growing process, and the cellular transparency of delicate organisms.

I started this piece some while ago and I have been trying to come to grips with it over this year. It is made from cardboard boxes cut into strips and reassembled to create a more transparent filigree effect. I do some, then leave it, and then this prompt made me come back to it. Thank you. It needs reviving!

I anticipate it will grow more towards the original drawing as the ‘Limbs’ will become more numerous. I want the piece to curve so that the viewer can stand within to look out on a different world. It’s going to take a while!


janblake.co.uk


Graeme Daly

“I was spoiled for choice with this Kick-About, with rural Ireland having a bountiful abundance of botany with textures, colours and shapes, all the flora and vegetation feeling like an endless pick’n’mix. I always find myself thinking about the intricate patterns and shapes as I snap away; mint green reindeer moss looking like bleached coral under a microscopic macro lens, and the swirling and meandering of ice a jigsaw of frozen motion. Twigs, branches and petals look like spores – after some manipulation. Suffice to say, I loved this kick-about and I loved learning about Ernst Haeckel and his gorgeous Illustrations. I could go on and on with creating designs like this and I have a hankering to do so!”


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


Phil Gomm

“It was while producing these images for the Kick-About No.18, that I picked up the wrong sort of marker pen, which reacted to the spritzing of alcohol in some fascinating ways. I noticed how the solid lines of ink blossomed unexpectedly into a squirm of tendrils or fine feathery hairs. I noticed too how some consequence of the varying drying times of the ink and the alcohol produced a creeping tide-mark that moved across the surface of the tile – before suddenly retreating again. It was a bit like observing some organism in a petri dish or under a microscope. Suitably-inspired, I set about capturing these evolving ‘Art forms’ through time-lapse photography. It was difficult not to think about images of virology and bacteria, and my affection for the b-movies of the 1950s surfaced as quickly, producing something moodier and more ominous than I’d originally planned. What’s fascinating is a technique, which previously gave rise to a sort of image suited to tasteful greetings cards, should now produce something so tonally different. However, given what we know about some of Haeckel’s other ideas, perhaps the underlying menace is not so wide of the mark…”


Photographing the interaction of the ink and alcohol taking place on a ceramic tile.



Phill Hosking

“Here’s my little offering for this week’s Kick-About: a plain and simple graphic study of some fascinating fungi I had in my photo archive of interesting stuff to draw one day. Not sure of their name, but this is no impediment to studying their forms and surfaces. The pattern in the backdrop is based on the folded, rippled surface on the stem. I think I’ve made them look monumental, when in reality they’re probably quite tiny. Great inking practice, my current obsession.”


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


Kerfe Roig

“What fun this was! I looked in my collage box/reference book collection for nature images that I could combine to create new forms based on Haeckel’s paintings. This is a project that could go on and on…”


be always
impossible be
enchanted
reaching out
in reciprocity to
meet the world halfway


kblog.blog / methodtwomadness.wordpress.com


Gary Thorne

“‘The Story of the Development of a Youth’ consists of Haeckel’s letters home, whilst studying age 18-22 (1852-56). A really good read, brimming with exuberant enthusiasm, energy, and appetite for learning, each letter of enchanting spirit and feeling, humour, impulsiveness, apprehension, mood swing and a deep devotion to Christianity. Haeckel’s left-eye was fixed down the microscope, his right focused on the drawings so, I’ve tried capturing Haeckel’s spirit, framing it within the scope, and beyond it is representation of his melancholy and homesickness.” Oil on prepared paper 50cm x 50cm


linkedin.com/in/gary-thorne


Many thanks to Kick-Abouter, Jan Blake, for our next jumping off point – the following quotation from Cifford W Ashley’s The Ashley Book of Knots (1944):

“To prevent slipping, a knot depends on friction, and to provide friction there must be pressure of some sort. This pressure and the place within the knot where it occurs is called the nip. The security of a knot appears to depend solely on its nip.”

Looking forward to seeing where this one takes us – and if you’ve enjoyed this week’s kick-about and fancy a run around with the rest of us, get in touch and get involved.



The Kick-About #14 ‘Boogie Doodle’


The previous edition of the Kick-About featured a rather precarious vision of a civilisation held together by threads. I won’t labour this analogy any further, but suffice to say civilsation feels a good deal more secure this week! I feel a bit of a celebration coming on. Anyone fancy a boogie?


Jan Blake

“Just a couple of small painting ideas relating to Boogie-Doodle I had various thoughts in my mind as with the American election this week making it tense and electric, the idea of a Boogie of delight became more evident.

So my initial little strip shows the exuberance I felt for the emerging outcome informed at the same time as watching a crow returning to its nest, with what appeared to be a mission of house-clearing, as it proceeded to kick about and turn out the shower of leaves that had landed in his nest. Maybe they were all soggy and he was preparing for the next season? There has been no sign of him since…

The second thought led on from this thinking of the masses of birds that collect on the telephone wires, flying off jumping on one another shuffling for space and almost performing a sort of ritual dance as they collect to migrate. So the second strip shows a Birdy Boogie-Doodle on an Asafo flag as some of the birds will be flying to Africa to entertain them there.”


janblake.co.uk


Marion Raper

“This was such a fun, joyous and uplifting cartoon and I have tried to keep the same theme going, by working some ‘crazy patchwork’. (This is a wonderful way to use up all your odd material scraps etc). I tried to find pieces that had similar colours, shapes and patterns on them and then added a bit of hand embroidery and applique as enhancement. Have to say was all very enjoyable!”



Emily Clarkson

‘Salsa Doodle’ was a lot of fun to do. It’s not polished, but maybe that adds a bit of charm! You just have to wiggle to that music! I can’t help but imagine fruit punch, wildly swinging, tasselled skirts and sequins!


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


Charly Skilling

“Boogie Doodle is fun and frivolous, and so is my response. Ladies and gentelmen of the Kick-About, I present, ‘A Woolly-Doodle’, also known as ‘The Yarny Doodle Dangle’. Enjoy!”



Phil Gomm

“I have a small leather notebook with thick creamy pages that is home to my daily ‘to-do’ lists, which is my very low tech way of trying to give some structure to these strange indistinct times of ours. This same book is also where I doodle absently when I’m on Zoom calls. Given the instinctive ‘straight-ahead’ method of animation on display in Norman Maclaren’s Boogie Doodle, I decided to liberate some of my own doodles from the various corners of my notebook and release them into the Kick-About for a runaround of their own!”



One of the Zoom doodles in its original habitat!



Phil Cooper

“I loved the energy and the immediacy of the Norman McLaren film. In response, I knew I wanted to make something quite quickly and without thinking too much to keep some of the spirit of the animation. I’ve spent most of this year in the city in Berlin, but this week I’m by the sea in the U.K. for a few days so it’s been a welcome change to use some found materials from the beach for this prompt. Here are some creatures, ‘beach doodles’, put together from the flotsam and jetsam found along the seashore.”



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


Graeme Daly

“I absolutely loved this Kick-About! It put a smile on my face, made my shoulders shake and my head bop! I enjoyed learning about Norman Maclaren and the music that accompanies Boogie Woogie by Albert Ammons, which all inspired the visuals for this animation. Injecting so much colour with this Kick-About has been a joy to work on and I am looking forward to playing about with it some more!”


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


Kerfe Roig

Boogie Doodle really reminded me of Matisse’s Jazz collages.  I focused on the figures in his series and drew some of my own in a similar style from photos I found online of jazz dancers.  Using primary colors with black and white to duplicate the shadow effect in the video, I cut out the figures and dots to complement them.  Then I arranged them all on an abstract primary ground. For the poem I wanted to use music and musical sound words. It was much harder than I anticipated, but I like the idea of a poem composed mostly of sounds, and may visit it again.  And I also now have a set of dancing shadow figures and dots that can be revisited for different arrangements as well.



swing stroll slide

be
bop shout
rhythm blues
eight to the bar
oompah oompah groove
boogie-woogie back beat
jingle jangle jive talkin
double time front line howl growl whine
interlude solidtude riff raff boom
whistle whomp wha wah zoomba zoomba zoom


kblog.blog / methodtwomadness.wordpress.com


We have Phil Cooper to thank for our next creative prompt, which he introduces for us here:

“In 1938, with World War 2 looming on the horizon, Country Life published a book called ‘High Street’. It included a text by J. M. Richards and 24 lithographs by Eric Ravilious of typical high street scenes and shop fronts from the time. Just a few years later, Ravilious would be killed in the war, the high street changed forever, and even the lithographic plates for the book destroyed in a bombing raid during the Blitz. Thankfully, many of the original copies of High Street have survived, though, and Ravilious’ illustrations have become some of the most highly regarded lithographs from the period.”

I just wanted to say a very warm welcome to our newest kick-abouter, Jan Blake (who contributed some belated work to the Ersilia edition, which you can see here), and extend the invite for a run-around with the rest of us to anyone else who might be looking on and thinking ‘I’m up for some doodling too.’ You’ll find the next submission deadline in the presentation below.



The Kick-About #13 ‘Ersilia’


Last time it was fairies and other flights of fancy. I think many of us enjoyed the opportunity for a spot of magical-thinking. This new edition of the Kick-About begins with the no less improbable city of Ersilia, one of Italo Calvino’s Invisible Cities – a conurbation of string!


Phil Hosking

“Here is my offering for this week’s prompt. Sure I’ve gone way off point on this one but was serious fun to get stuck into! When I first read the prompt, I straight away thought of those giant spiders’ webs that entomb entire trees, plus slum like city streets in Asia with endless electrical cables overhead, somehow feeding the city despite their chaotic appearance. Painted in Photoshop over the course of a weekend.”


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


Marion Raper

“I found this latest kick-about very interesting and thought provoking and feel it would be a great book to read in lock down. Unfortunately I am not so speedy a reader and have done my own interpretation and this is what popped into my head: a small town dwarfed by huge poles and wires and cables, much like telegraph pylons can do across a landscape. So this would be before the inhabitants have become too fed up and decided to move on. It seems people can put up with so much and then it’s like the last straw somehow. Anyway, I began by a fine liner doodle, added a watercolour background and attached some threads and thin ribbons. The little houses were an afterthought and I tried to make them 3D with some folds. I enjoyed the process a lot and for once it all went to plan!”



James Randall

“Here is a quick and dirty of my concept for “What if the strings became the reflections on buildings – ephemeral layerings that would gently blow away…”



Vanessa Clegg

“I’m beginning to think I might have strayed too far from the prompt, as I changed from a more literal interpretation involving Venice (as all the cities are about this) and its buildings, to the point at which the people leave therefore entering the world of refugees – the “links” being their possessions which, over time and their journey, are discarded until, on arrival at whatever destination, they are left with nothing but memories….these are the ‘strings’ that bind them. Here, each layer is placed on the next, gradually erasing all evidence of what went before.


Graphite on paper

Graphite on fine Japanese paper on above image

Graphite on fine Japanese paper on above image

Photo on acetate under tracing paper on above image


Tracing paper over above image

vanessaclegg.co.uk


Kerfe Roig

“The Kick-About prompt immediately made me want to take actual thread and do something three-dimensional to represent the abandoned city of Ersilia. Cardboard boxes were my starting point. Weaving my embroidery floss with a needle between the supports I cut and folded up, it became obvious how the city inhabitants became tangled in a state of impasse, forcing them to move on. I decided to do a landscape background–the text spoke of viewing the deserted city from the mountains–and I spent a lot of time laying out possible landscapes on my floor from the collage references I had. I then dismantled and retaped a box to make a sort of diorama and glued the landscape pieces down.Then I had fun rearranging the threaded bones of the city and photographing it from different viewpoints against the background.I read “Invisible Cities” in 2016 and posted a review on Goodreads. At the end I wrote: “Certainly it inspires visions that could be transferred to paper…and perhaps some of them will come to form for me at a future time.” And so they have.”


kblog.blog / methodtwomadness.wordpress.com


Charly Skilling

“I was fascinated by this idea of relationships made visible, connections physical, and wondered if I could do the same for one family. I took a family group consisting of 2 parents and 5 siblings. 4 of the siblings married (2 of them twice) and between them produced nine grandchildren. 7 grandchildren married, and between the nine produced 14 great grandchildren. I created the basic blood relationships with crochet chains made up from the colours of both parents, not as a physical representation of DNA, but because the parent-child relationship is often the single biggest influence on an individual, though many other relationships will impact as life moves on. I then began to weave single filaments between grandparents, and grandchildren, between siblings, between cousins, between aunt and nieces, uncle and nephews.

This “construct” is by no means complete, and I have not attempted at this stage to integrate the webs of connections brought by those who married into the family. But the little I have done has revealed much to me about the complexity of the web that we are born into, and that we build around us. It has highlighted how some relationships are simple and straightforward, others tangled and convoluted; some are loose and relaxed, others taut, and under strain. Some connections disappear from view only to turn up later,as if they have always been there, others fray or break, or just atrophy. But all of them have some influence on the people we are and the lives we lead.

This #Kickabout 13 has probably made me think harder than any so far – and the Ersilians included trade and authority relationships as well! No wonder they upped sticks and started again somewhere else!”




Judy Watson

“I thought of opting out for this fortnight, but then I remembered the unfinished practice run on paper. I chopped it into strips and collected my family into eight piles. Two teens, myself, Scott, and all four grandparents. Although one of them isn’t with us any more, he is already deeply woven into the fabric of our family. Then I took up a discarded piece of work from an earlier kick-about and began weaving the strands of the family together. So this is my family. Though separated by space, and even time, we are woven inextricably. Our colours harmonise and clash depending on the day and on which other threads are adjacent, but we strengthen each other over all. And a tug on one thread will summon help from several other threads.”





“Chopping sections off into small interludes was a fun follow up. Here are some mini family interactions.”


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


Francesca Maxwell

“What a great kick-about this Ersilia is! I am busy with lectures and classes but couldn’t get it out of my mind. Calvino’s narrative is always so evocative of images, and more. He is one of my heroes who has accompanied me since I started reading, and indeed sparked my love for books and stories. Unfortunately I had not much time to realise all the images that came to mind, so this is just a quick sketch – a beginning for some future work.”


www.FBM.me.uk


Phil Gomm

“Our garden is full of threads at the moment; the elaborate, death-defying webs of the orb spiders. They made me think of the inhabitants of Ersilia, and their structures. I wanted to weave my own webs out in the garden, so I did , much to the consternation of all the house sparrows watching me beadily from the safe harbour of the hedge. My original idea was to embrace colour, but the skies above me were grey and my mood somehow more sombre than that. I imagined instead coming upon the abandoned buildings of Ersilia, an explorer taking pictures of a vanished civilisation using his unwieldy camera on some unwieldy tripod. I imagined the sound of the wind in all the wires; and how haunting a sound like that might be. I recalled my childhood fear of pylons marching across the countryside, and ultimately settled on these rather melancholy images.”



Graeme Daly

“I’ve always wanted to make a film around the uncanny. The uncanny was brought to the surface again with a previous kick about, which saw me reflect on the creepiness of my dad’s basement. The ropes and strings of Calvino’s Ersilia really stuck out to me as a place that suffocates, those ropes like fungus and disease, growing and grasping to bring back again what belongs to the earth.”


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


Emily Clarkson

“Just a concept painting this week, but I really loved the prompt all the same. I may revisit this city sometime to explore further!

What with Ersilia being based in the plains, all I could see were golden fields bathed in golden light as the sun went down. I imagine Ersilia’s people would opt for simple structures if they knew they’d be upping sticks at some point to start again. I wonder what else they leave behind in the ruins?”


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


Jan Blake

“I was intrigued by the subject and Francesca Maxwell said it reminded her of some of my work. I did not have much time to create new work as it was the weekend before the deadline. Here are the images that I felt contained some of the feeling of these deserted cities….from deserted nests and webs and the cardboard constructions I have made called ‘Fragment’. The last painting is more recent and seems to me like the unravelling of a structure seen through a web of threads.”



janblake.co.uk


As the weather worsens and the daylight diminishes, I felt we needed to kick our heels up and have a bit of a boogie – so as inspiration for our next run-about together, I’m offering up Norman Maclaren’s 1941 animation, Boogie-Doodle! Have fun!




The Kick-About #11 ‘Trappist 1e’


By way of a preface to this week’s Kick-About, some info courtesy of Judy Watson: “TRAPPIST-1e is one of the most potentially habitable exoplanets discovered so far. Your descendants may be living there one day. It is similar to the size of Earth and closely orbits a dwarf star named TRAPPIST-1 which is not as hot or bright as our sun. One side of TRAPPIST-1e faces permanently towards its host star, so the other side is in perpetual darkness. But apparently the best real estate would be the sliver of space between the eternally light and the eternally dark sides – the terminator line where temperatures may even be a cosy 0 °C (32 °F).”

Our last run-around together in the company of Joseph Cornell encouraged many of us to journey inwards; this week’s creative responses are beaming back from many light-years further away!


Emily Clarkson

I’m not really sure how to explain this one. I just liked the idea of a looped animation, jumping between Earth and (my version of) Trappist-1e by a little rocket.


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


Judy Watson

“I started painting some plants for this new world, and I imagined that they would all be turning towards the dim light of their star. So I made a world where everything was evolved to point in one direction only, sucking up the warmth, the light, the energy; a single-minded yearning, shared by every living thing on the planet. It made me ponder on humankind’s perpetual yearning, which leads us to disaster over long roads and short. If only we could all focus as readily on the majesty and wonder of the world that we already inhabit. There was nothing I could paint for this new world that could rival the natural wonders in the one we already have. I made the new inhabitants – refugees from Earth – look on in wonder. And then, because of their pose, looking upwards within the vivid setting, it put me in mind of a propaganda poster. which made me laugh.”


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


Graeme Daly

“I was really inspired by Olafur Eliasson, in particular his exhibition – The Weather Project. I imagine a planet vibrating with orange hues against cool tones, with piercing shadows, and the ground of this planet cracking and buckling” 


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


Marion Raper

“This planet is something which I had never heard about before, and I was inspired to do some machine embroidery which loosely shows the arrangement of the orbits of the planets around Trappist. I layered various different materials on top of each other then added different textures for the planets b to h, using a zig-zag stitch around them. In the centre I put an origami star for Trappist itself. The fun bit is when you have finished stitching and you can slash away with your scissors. You never quite know what it will turn out like.”


Come take a trip to Trappis-1e
Ages 50 plus go free!
Don’t be put off by the distance
We’ve everything for your assistance.
There’s luxury slumber pods and sleep swings
You’ll never feel the slightest thing.
40 light years may seem a while,
But our Dreamland films will make you smile!
You can download your happiest memories
Whilst we ferry you along at lightening speeds.
So don’t delay, and book your seat –
Our on-board menu’s a real treat!
We have masseurs and therapists while you snooze
You can become anyone you choose!
No covid quarantine when you alight
So just relax and enjoy the flight!



Marcy Erb

For this Kick-About, I returned to making monoprints in the same vein as I did for the Alice Neel prompt from the Kick-About #5. I wanted something spontaneous and bursting with energy. I sat down and calculated how many Trappist-1e years I would be now and it was humbling to say the least: I am 2,307 Trappist-1e years old. The other two numbers represent my Earth ages: 38 years old, having spent 14,072 days orbiting our star. We don’t actually know what Trappist-1e looks like (the picture in the prompt is an artist’s rendering), so I let my imagination run wild making planets on the inking plate.



marcyerb.com


Phil Gomm & Deanna Crisbacher

“As I write this, the UK is having its expectations managed regarding the continuing effects of the pandemic. Our worlds will continue to shrink a little more. I’ve been going ‘off-world’ for months now, journeying into largely uninhabited terrains to breathe lungfuls of fresh air, and go exploring. The word ‘planet’ derives from the Greek word for ‘wanderer’ – how apt, I thought, considering my wanderings through these ordinary/extraordinary landscapes. This prompted an idea I couldn’t execute by myself; what if I could literally turn some of these havens into actual planets? More than this, given the gauzy, impressionism of many of the images – and the suspensions of gaseous colour – what if I could transform these earthly/unearthly spaces into nebulas? Fortunately, I knew just the person to help me realise this plan, VFX whizzkid, Deanna Crisbacher, who took my photograph below and ‘plugged it into’ her CGI-dream machine, and used it to generate an all-new planet and its accompanying nebula!”


Boughton Scrub, September, Phil Gomm

deannacrisbacher.com


James Randall

“What a topic change! From all those lovely intimate pieces, to Trappist 1e! So it’s earth like and travels around a red dwarf (yellow or white in color) and what would humankind’s motivations be if we eventually reached it. Would we want to mine it or farm it? Would we decimate any possible indigenous occupants – how much respect do we have for our own little world. So I realized I needed to add a narrative to protect the indigenes and planet. What if the indigenes fed on greed and hatred? That’s where I went in and left it. Would this be good or bad for humankind – would the indigenes farm humans? Could this be interplanetary heaven or hell? Stay tuned…”



Kerfe Roig

“Marcy Erb’s prompt for the Kick-About #11 was the planet Trappist 1e, an earth-sized planet orbiting the Trappist-1 dwarf star 40 light years from Earth. What makes it special? Scientists believe it is potentially habitable. But not the entire planet–“there would be only a sliver of habitability”–as the planet does not itself rotate–one side is always facing towards the sun, and the other side is always in darkness.  The habitable area is called the teminator line, or in more familiar terms, the twilight zone, as it is always stranded between the darkness and the light. The idea of a sliver of habitability seems relevant to the current situation on earth–the balance of the ecosystem is delicate, and we are narrowing that sliver day by day.  My two mandalas represent my idea of Trappist 1e and the waves of exploration and communication we are sending out in the hopes of finding another blue and green island in the vast dark cosmic sea.”



life spills out
into uncontrolled
spaces—still
mystery,
still yearning for parallel
growth, revelation—

who and where
do we think we are?
tiny ex
plosions look
ing for intersecting lines
that collide and cross,

waving brains
tides hands energy
electric
magnetic–
mapping the unseen
with disturbances,

promises
of what could have been–
had light years
been compressed
into overlapping sounds—each
a mirrored reply


kblog.blog / methodtwomadness.wordpress.com


Vanessa Clegg

“In a cramped concrete room, a man covers his head. A window, high up, frames the Milky Way. Ink black. When we look up at a clear blue cloudless sky it’s almost impossible to imagine infinity and darkness beyond, or the space debris circling our planet, or the other orbs in our solar system, or pieces of rock the size of our house hurtling towards us, or even other worlds light years away that possibly, just possibly might spawn life forms as ours has…because, despite the clearest of images beamed across space/time it remains an abstraction… a concept… slippery and seductive…an escape.

We’re in the middle of a voracious pandemic, our lives restricted, so in many ways, we are all Trappists now…facing the back alley of our own thoughts and imagination and that is where we travel….beyond the walls of our homes to faraway places that might or might not exist and within these lie dark corners unknown and unpredictable..both in real space and the “space” in our heads.

Arundhati Roy reflects that ‘the pandemic is a portal between one world and another…an invitation for humans to imagine a better place…A Trappist 1e of the mind.



Ink on board and stone. “Hidden in plain sight”

Toned & hand printed photograph


Charly Skilling

“At a time when our world seems to have shrunk to the four walls of home, it can seem difficult to envision the exploration of a whole new planet. I decided to crochet my own “new planet” and incorporate into it all the swamps and mountains, deserts and polar wastes that were the early building bricks of imagination for those of us who grew up with Flash Gordon, Forbidden Planet, and the original series of Star Trek. When you can’t explore the world, create a new world to explore. It may not be art – but it was damn good fun!

(NB – I have been reminded that some say the Creator made the world in 6 days and on the 7th he rested. Well, if he’d been crocheting, it would have taken him/her/it longer than 6 days! And I don’t suppose they had anyone leaning over their shoulder asking “What’s that bit supposed to be, exactly?”).

I’m really getting into this free-form crochet! Who knows what could be next? Robby the Robot perhaps, or the space-time continuum…”



Maxine Chester

“An utter flight of fancy on a classic theme – I have started to get the feeling that my studio is like a portal, a kind of feminine creative principle. These subjects, from an unknown place, have materialised. I have no idea what they are capable of!”


instagram.com/maxineschester / maxine-chester.squarespace.com


From an artist’s impression of a real world celestial body, the Kick-About #12 focuses our attention on a celebrated example of artists’ impressions of fake celestial bodies – the Cottingley fairies and the photographs that fooled the world. Thanks to regular kick-abouter, Marion Raper for our next creative prompt! Have fun and see you all here again soon.



The Kick-About #10 ‘Romantic Museum’


I don’t mind admitting I’ve spent a few moments dabbing my eye as I put this latest showcase of new work together in response to Joseph Cornell’s Romantic Museum! There’s a lot of love in the mix this week, with reflections on beloved relationships, time passing, and the making and keeping of memories. If the last Kick-About was a short ride in a fast machine, the Kick-About#10 is about the long ride we’re taking together.


James Randall

“My Romantic Museum; I guess my romance experience is a little ‘narrow’, having been married to the love of my life for thirty years, and perhaps it’s more of a timeline. Nice to get a theme that provokes thought/reflection.”



Kerfe Roig

“Cornell! Another treat. I wanted to do something on newspaper, but I couldn’t collage (my first choice) as my glue was packed. My needles and floss were not, however, and this also seemed appropriate to Cornell’s work. And what woman do I know better than myself? As we grow older, so the passing of time looms larger. I was of course attracted first to the hand, and was pleased to find a newspaper page with a photo of hands. I drew my own, and also my face, and stitched and wrote my reflections based on the drawings. It’s not quite finished, but maybe that’s the correct response too.”





kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“As the 1946 exhibition by Joseph Cornell was dedicated to women I decided to do an ‘homage ‘ to my dear mum, Joan Walton, who passed away many years ago. She was very proud of the fact that she was a true Cockney and had been born within the sound of Bow Bells, so I have made a cutwork of the bell tower. I discovered the weathervane on top is a wonderful golden dragon, which is apparently the symbol for London. Joan was evacuated during the war at about age 14,and wrote all over her letters ” I wanna come home!” – until her parents had to bring her back. She told me they would all stick their heads under the table while the bombs dropped! Some years after the war, my dad came on the scene and they loved to go cycling and ballroom dancing. Then later in the 1960s, mum was a typical housewife who made fabulous cakes, plus enjoying knitting and dressmaking. This has been a very nostalgic prompt for me and it has brought home the fact that small objects have a big impact in our memory, which can effect our well-being for good and also for bad.”





Marcy Erb

“I confess I’ve always wanted to make shadow boxes (AKA assemblages) and so when the Kick-About #10 theme was announced as one of Joseph Cornell’s assemblages, I decided to seize the day and fulfill the dream. I took a cue from the fact that “Romantic Museum” is housed in a case used for storing scientific specimens. I had an old wooden wine box I’d picked up curbside on trash day a while back: I painted it and used it to house the reconstructed bones of seabirds. NOTE: These bones were all found objects – washed-up on the beach near my home, already skeletonized. They are not from the same bird, and most likely are from local seagulls. On the back of the box, I transfer printed as much of the “Rime of the Ancient Mariner” by Samuel Taylor Coleridge as I could fit (click HERE to read the entire poem). The imagery of sea birds in this poem is so powerful it has seeped into everyday language as the phrase “an albatross around my neck.” Many seabird species are highly endangered – for instance almost half of all albatross species are threatened by the degradation of fishing stocks and habitat loss. This is in addition to the effects of climate change that intensify storms and disrupts sea bird breeding on remote islands. They are caught in an environmental net of human making. I hoped to convey some of this in my “Albatross Box.”




marcyerb.com


Charly Skilling

“Cornell’s work is often created using a box divided into a grid of small compartments. Each individual compartment holds some item that for him that has significance, and the whole piece conveys something greater than the sum of its parts. This crocheted blanket does the same for me. Back in 2007, we sold our business and home, and spent a year travelling round the UK. I made the blanket as we travelled, but wrote the poem later, in about 2013. This blanket is my romantic museum.”




Judy Watson

Every person‘s experience of a work of art is different. Nevertheless I can’t help wondering how many people may see ‘mass isolation’ as I do in this piece – viewing it now, during a pandemic. I see a hand stitching quietly, small, intimate objects, windows and walls and another window over the entire thing. And finally a cloud of black sand infiltrating everything.  My response led me to paint a series of hearts partly hidden behind or framed by window shapes. I was thinking of them as hearts as I was painting, though they didn‘t look like hearts in the anatomical sense, nor as pictograms. They represented all those people; their feelings, quietly beating away, hidden behind windows and walls. A lot of them were in shades of red, but they changed to blue and other colours.  



I started thinking of all the ways hearts are described. All those corny yet evocative terms… Then I thought of all the combinations I could have, starting with Blue Tending to Black. How about Pure – Frozen, or Stolen – Smouldering, Stony and Promised… but I realised what was really giving me pleasure was the layering and texture. In particular, I was using a fan brush to very lightly drag layers of watercolour and gouache across the painting. The delicacy of the fragmented lines entranced me. Also the way the colour changed as the paint dried, as gouache will do. It made the painting feel so alive. Each pass with the brush partly obscured the previous layer, but did not completely cover it. It felt like a metaphor for life – which is really what artists are grappling with every day, and probably partly explains their angst! Every decision is a little goodbye to the past that cannot ever again be recovered exactly as it was. And a hello to a new possibility, that just may be more beautiful yet. Always with the heart in the window in mind, I found myself weaving.”


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


Phil Gomm

“I was drawn immediately to the black ‘rift’ in Cornell’s piece. I wanted to know what it was, or what it meant, and how the ‘unknowability’ of the ultimate meaning of something is a powerful and unsettling thing. I thought about those Rorschach tests, where you’re invited to look at ink-blots and project your own associations upon them, re-configuring them as meaningful as they relate to your own lived experience. I was reminded too of the famous Nietzsche quote that goes ‘Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you’.


You can link out to a PDF version here.


Graeme Daly

“Cornell’s pieces are like memory vaults of amassed ephemera, with his ‘Romantic Museum’ seeming as though the images exploding out of the building or museum in the background are of significant importance to Cornell, with memories and narratives attached. I decided to create something signifying memories with a ‘Cabinet of my own Curiosities’. Places, people and things that mean the world to me are collated here; everything has stories attached, little tidbits into my past, meshed together with nostalgic sepia tones tones and the same royal purple seen in Romantic Museum to signify warm nostalgia.”


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


Vanessa Clegg

Having set the prompt I was then faced with the challenge of what to do, but an old suitcase (I have a bit of an obsession for them) proved a good starting point… a mobile museum.

This Sleeping Beauty has left home carrying a case of letters, tied up in silk ribbons…so much love secreted..a stack of fading paper pockets… these are her memories. She walks into the future with the dream of creating her own garden of paradise, a place of peace and redemption… thousands of seeds lie dormant in packets of blue (..“.cerulean, gentian, hyacinth, delft, jouvenence..” Derek Jarman) So here she is, (no imminent prince..or ever was) lying on a bed of cornflowers in the centre of a wildflower meadow. Birdsong echoes from surrounding (briar tangled) hedgerows and her ears fizz with the whirr of dragonflies hunting, bees feeding, butterflies (a light tickle on the skin) landing. Her eyes wide open… awake to a canopy of blue infinity. Time suspended.




“Here’s another… my studio fitted into a boat afloat on an endless sea. Don’t quite know what it says but I guess it’s my own museum of artefacts that enable me to do my work and that comes from a place of dreams, memories and emotions. Am I lost in this tiny world? Probably. “ Collage and watercolour on paper. 35cm X 25cm


vanessaclegg.co.uk


Courtesy of Marcy Erb, we have our eleventh prompt; see below! I was very happy to welcome James Randall into our rag-tag team of run-abouts this time around, and I encourage any lurkers who are likewise itching to let off some creative steam to do the same. Get in touch. We’d love to have you in the mix. So, until next time then… cue the music!



The Kick-About #5 ‘Symbols’


With Jean Cocteau as our guest referee, little wonder the Kick-About #4 was a game of magical doorways, shadowy thresholds and nebulous reflections. This time we have Alice Neel as our muse, whose uncompromising paintings have, hardly surprisingly, prompted a range of provocative impressions from our motley crew of up-for-it creatives. Happy browsing.


Eleanor Spence-Welch

“This painting really intrigued me, so I took time to read about the story behind it and the symbolism within it. Alice Neel painted Symbols in response to her husband leaving her, taking their daughter with him. When I look at the doll and glove on the table, I see things that were left behind by the daughter when she left, little items that were once insignificant, now a symbol of what has been lost. There are discussions on how the inclusion of the cross and apples represent Eve, perhaps suggesting Neel sees herself as the the destroyer of her own Garden of Eden – her family.  In my piece, I wanted to take the symbols that stood out the most to me, and using Neel’s style, create a new piece. The doll to me is a symbol of childhood, the cross a symbol of sacrifice, the apple and leaves representing Eden, now lost.” 


instagram.com/espence96 / twitter.com/E1eanor_Spence / facebook.com/ESpence-Art


Marcy Erb

“I decided to do some monoprints and had several tries where the prints just weren’t matching the vision in my head for this challenge. Finally, in frustration, I mixed some fabric ink I had with the printing ink on a small metal rolling plate and had that moment of excitement when I pulled the paper off the plate. The two inks weren’t really compatible (even says so on the bottles!) and the effect was much closer to what I was looking for – much closer to Alice’s experience, I think. Alice Neel’s biography is fascinating and she lived a difficult life as a woman artist, receiving popular recognition only later in life. She painted unvarnished, unflinching portraits of her subjects and from what I read, never compromised on that.”


marcyerb.com


Phil Cooper

“When I saw the prompt for the next round of the Kick About I was intrigued. I didn’t know this painting or this artist, so I started Googling and found out more. I looked at the painting again; there was an unsettling mixture of childhood and adult references going on. The painting started to trigger thoughts and memories of my own childhood…”


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


Liam Scarlino

“I initially mistook the doll in the painting for a voodoo doll, which sent me down a Wikipedia rabbit warren. I surfaced on an article about cunning folk; practitioners of folk magic and divination in England from medieval times up to the early twentieth century. They learnt their craft through spell books called Grimoires, which taught how to create magical objects such as talisman and amulets, other magical spells, and how to summon angels and demons.

Cunning folk however were usually employed in order to solve specific problems, such as missing property, or malevolent witchcraft.

With an East Anglian tradition of cunning folk in my area, I decided that gave me licence to have a go at some millennial magic.

Two of the practices which proved popular against witches were voodoo dolls, and witches’ bottles. I felt a bit funny about voodoo, so I opted with the more friendly sounding witches bottle.

If a witch had placed a curse on your home, your local cunning folk would help you create a witch’s bottle to capture the evil in your home. The folk would produce a bellarmine jug, which the victim was required to either urinate in, or place rosemary, red wine and pins. This would then be buried in the furthest corner of the house, or under the hearth. The purpose behind the objects was that after burial, the bottle would capture and contain the evil, the pins would impale it, the wine would drown it, and the rosemary would send it away. I’m not sure why they needed the urine sample.

Putting a modern spin on ancient problems, I moved house recently and have been having problems with the builder. Rather than read through some tedious warranty documents, I thought it would be easier to use the witch’s bottle to sort out permeated outer walls and safety glass guarantees, and also perhaps throw in a tiny bit of a curse.

I made a crude jug from a pack of air drying terracotta, which it turns out is very difficult to shape, and carved the building faults I want to resolve into the sides, then slapped some black paint on it, to draw the badness in. I then added the red wine, some rosemary and some wood screws (no pins available), opting out on the urine. I live in a flat which doesn’t have a hearth, so I settled for burying the bottle in a pot in the corner of my balcony.

As of the time of writing, there hasn’t been any change in the outer membrane of the house, and I can’t say if the builder has suffered any sudden misfortune, but it’s early days and I remain hopeful.”


 liamscarlino.net vimeo.com/liamscarlino


Phil Gomm

A short film inspired by the various portraits Alice Neel painted of babies and young children that reveal an unsentimental image of motherhood. Quite Normal was likewise inspired by the experiences of my own mother, whose teeth my brother and I stole as babies. Sorry about that, mum!



Vanessa Clegg

“Replacing the objects in Alice Neel’s “Doll and Apples” 1932; I’m referencing two contemporary issues: COVID 19 and human damage to the natural world (under subheading ‘Victims of Circumstance’)….scattered like (tea) leaves on the page…and thus looking into an uncertain future.” “Plastic Soldier with Woodcock Wings”. Charcoal and Graphite on Fabriano.


vanessaclegg.co.uk


Jordan Buckner

“Strangely, I’ve actually been thinking about Alice Neel a lot lately. I’ve been meaning to watch the doc on her life and work for about a month, and so when this kick-about prompt showed up, I jumped at the chance.

I don’t want to say too much about my piece apart from I hope it expresses something of Neel’s own work. In these recent lockdown months, I’ve been surrounded by people battling deep crisis. This painting is about a singular evening during the lockdown when some of those crises boiled over.”


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

Watch Jordan paint live at twitch.tv/jordan_buckner


Maxine Chester

‘On discovering Neel’s painting embodies a personal, traumatic experience, I have explored the themes of motherhood and loss.’ 3D Sketch – logs, saw dust, chewing gum, tights,  126 x 98 x 40cm



Graeme Daly

“Alice Neel’s doll painting reminded me of my dad’s basement, where I would spend a lot of time as a young lad with my cousins making up scary stories in the dark…”


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


Kerfe Roig

I wanted to approach Alice Neel’s painting in a different way than I had done previously. The inspiration for this 3-D collage came when I was cleaning out some papers and came upon the paper insert for the Evanescence cd “Fallen”. The cover photo of Amy Lee seemed to echo the face of the doll Neel had painted.This was music my younger daughter played over and over in her adolescence, and it was fun to go to YouTube and pull up the songs.  I still like them.  Maybe I even like them more now.  Amy’s voice is a force, and she can be way over the top.  But the gothic flavor of the music seemed also apt to the painting.

I think Neel is addressing her struggle as a woman, a mother, an artist, a person constrained by family and cultural circumstances. She lost her oldest child to her husband’s family who considered her an unsuitable mother. The life she chose was not easy, but she never gave up her need and her right to make her art. Must a woman be only a virgin mother or a childless whore? And why should gender determine who we are or what we can be at all?



upon my end I shall begin–
I’m going under

I’ve been sleeping a thousand years it seems
without a thought without a voice without a soul

the truth drives me into madness,
my spirit sleeping somewhere cold

no one’s there–
never was and never will be

save me from the nothing I’ve become,
return to me salvation

maybe I’ll wake up for once,
fallen angels at my feet

let me stay,
bow down and stare in wonder

I know who you are–
the goddess of imaginary light


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“Whereas the artist Alice Neel had a rather sad life with the loss of her two daughters, I have decided to reflect on the symbols of my very happy creative life, and also that of my great aunt. She too was called Alice and was the 5th of 7 children, born 9 years before Alice Neel in 1891. Her father died when she was about four and somehow the family survived in a male-dominated society through two world wars.

What do myself and great aunt Alice have in common? Well, we both love to make things. She was a milliner and I have inherited her milliner’s block – a strong solid oak symbol of stubborn perseverance if ever there was one! I decided to try and make a hat on it. I attached lots of my crochet pieces I’ve made over the years. These are in the style of Irish crochet, where lots of motifs are joined together. Irish crochet began in the famine years of the 1840s and became a symbol of life and hope for the Irish people, especially women, to help make ends meet. Hats off to you Aunt Alice!”



TJ and Jo Norman 

Through collaboration, we fuse sculpture with animation, exploring theatrical aspects of using characters and stories, in conjunction with symbolic real-world materials. This quick turnaround piece plays with Neel’s imagery and themes; apples, dolls, loss and rebirth.”


“PUPA”

www.tjnartists.com / #tjnartists


Charly Skilling

“When I first looked at Alice Neel’s “Symbols”, it struck me how crushed, how hopeless the figure seems. Yet her make-up is intact and immaculate. It got me thinking about why women wear make-up and what impels us to literally put a “good face” on things, even when things are anything but good. While I was musing, I was experimenting with some freestyle crochet and the following is the outcome of both musings and experiment.”



“As I was working on the face, I was struck by how the reverse told it’s own story. In particular the finished eyes are those of a woman on the edge. On the reverse, they look scratched out…



Stephen Foy-Philp

Looking at the source image I felt quite disturbed, which fitted very nicely with my current interest in Absurdity and a recent reading of Hermann Hesse’s Steppenwolf. I proceeded to layer both domestic and made elements from around my home in order to create a sort of cross section of where I am at. All topped off with, and I think you will all agree, a very lovely frame from Wilko.”


instagram.com/stephen_fp_


Many thanks to kick-abouter, Francesca Maxwell for our brand-new prompt, which takes its title from the book by Rebecca Solnit. See below for our new jumping-off point and submission date. Have fun and see you all again on the other side and get in touch if you’ve enjoyed the showcase and fancy a run-around too. Whatever it is you’re doing creatively, there’s room for you here.