The Kick-About #32 ‘Low Dense’


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


Graeme Daly

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

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

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

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



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


Vanessa Clegg

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


vanessaclegg.co.uk


James Randall

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

*Congratulations, James!



Jan Blake

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

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


janblake.co.uk


Charly Skilling

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




Kevin Clarkson

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

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


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


Kerfe Roig

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



everywhere
falls apart
mind to eyes
expanding

falls apart
becomes its opposite
expanding
into stories

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

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

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

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


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

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



Francesca Maxwell

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


www.FBM.me.uk


Phil Cooper

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


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


Phil Gomm

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





Tom Beg

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


twitter.com/earthlystranger / vimeo.com/tombeg


Gary Thorne

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


linkedin.com/in/gary-thorne


Phill Hosking

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


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


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




The Kick-About #30 ‘Fundus Photography’


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


Gary Thorne

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



James Randall

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

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



Phil Gomm

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



Tom Beg

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



twitter.com/earthlystranger / vimeo.com/tombeg


Marion Raper

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



Phil Cooper

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

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

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

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


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


Vanessa Clegg

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

Watercolour on vellum. 10cm X 8cm


vanessaclegg.co.uk


Kerfe Roig

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


kblog.blog / methodtwomadness.wordpress.com


Charly Skilling

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




Graeme Daly

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


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


Jan Blake

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



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



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



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


janblake.co.uk


Emily Clarkson

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



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


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



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


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


Vanessa Clegg

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


vanessaclegg.co.uk


Tom Beg

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



twitter.com/earthlystranger / vimeo.com/tombeg


Marion Raper

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



Francesca Maxwell

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


www.FBM.me.uk


Kerfe Roig

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


kblog.blog / methodtwomadness.wordpress.com


Phil Gomm

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



Graeme Daly

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


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


James Randall

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



Charly Skilling

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



Phil Cooper

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


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


Gary Thorne

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


linkedin.com/in/gary-thorne


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


The Kick-About #27 ‘The Song Of Love’


The Kick-About No.26 – our one year birthday bash – was, at first glance, a collection of disparate things brought together into a single composition. In actual fact, however diverse, the work in the last edition of our fortnightly run-around was tightly associated: the shared dreams of an eclectic community. Our new prompt, de Chirico’s The Song Of Love, is another assembly of seemingly incongruous artefacts and what follows are our respective responses, taking in photography, painting, drawing, and collage, digital art and animation, poetry and spoken word.


Graeme Daly

“I have been having wildly vivid dreams as of late, the kind of dreams where you wake up in the middle of the night and need to write them down, the kind you remember so clearly when you get out of bed in the morning, the kind where you try to decipher their meaning to see if its some sort of cosmic message within your unconscious psyche that needs to be brought to fruition. These dreams feel as though they relate to the collective phenomena, where people at the start of lockdown had extremely vivid dreams, probably in relation to their unconscious being so fired up because their everyday lives felt like Groundhog Day, something I still feel like I can relate too. Surrealism, as an art form, is cemented in the unconscious, with surrealist painters adopting many techniques to unlock the power within their unconscious, so that it translates through to their art, including many being influenced by allusive dreams. With this in mind, and with this week’s The Song of love prompt, I have created a landscape of some of the symbols I have recently seen in one dream that has had a lasting effect..”


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


Gary Thorne

“Looking through a Sotheby’s 1977 catalogue, I discovered this Georgio De Chirico self-portrait from 1924, and liked it enough to do a sketch. It then seemed appropriate to introduce Georgio to Faversham, as under lock-down I did a few sketches which all of a sudden seem like a De Chirico painting. Outside the studio sparrows are active, and a homage to Morandi seemed appropriate being weekends now favour lunch in the garden.” Unfinished oil on prepared paper 50 x 65cm.



linkedin.com/in/gary-thorne


Vanessa Clegg

“Well this is multilayered in more ways than one but suffice it to say that I used the globe, glove and shadows from the original artwork and then wove it into my own song of love! Coloured crayon on paper.” 60cm X  55cm.


vanessaclegg.co.uk


Phil Gomm

“I took three things from the de Chirico painting; the rubber glove, the perspective, and the uncanny…”



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. These images are my first renders and experiments using Blender. Essentially, Blender is an open-source CG software to compete with the likes of Autodesk Maya. It’s amazing so far, and because it is open-source, it means that the software is completely free. The dream for a low-budget indie animator like myself. “



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


Phil Cooper

“I’ve always liked de Chirico’s strange and unsettling paintings. Still and airless, in a perpetual sickly twilight, they are at once magical and slightly menacing. There are peculiar objects populating his spaces, they look like props and theatre sets to me, everything rather hollow and dead looking.

De Chirico influenced the surrealists with his explorations of the metaphysical. The unusual juxtaposition of seemingly disparate elements in his paintings, such as in The Song of Love, stimulate odd associations, and the emotional bandwidth of the image is that of dreams and distant hazy memories. Freud published his book, The Interpretation of Dreams in 1900 although Chirico denied being influenced by Freud’s ideas. It would be easy to believe that he was, though, looking at this painting.

So, for this prompt I’ve used photo collage to shake up a conventional portrait image of a respectable looking woman and reveal layers of her psyche hidden beneath the surface. I think she may need professional help!”


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


Charly Skilling

“My first reaction, when I saw this prompt, was OMG! I had no idea what to do with it, so I resorted to research (the procrastinator’s friend), read around it, looked at it again, read some more… Then one day, as I sat staring glumly at the painting on my computer screen, my husband Billy looked over my shoulder and gifted me the first line of my poem. The rest of it just sort of fell into place. After that, it only seemed natural that Billy should assist in the vocals. We had a lot of fun and discussion and laughter with this poem, and I hope some of that comes over in the recording. I still don’t really know what de Chirico wanted to convey in “Song for Love”, but I do know Billy and I will always think of this painting with affection. PS _ Billy’s got the performance bug – he keeps asking if there’s a part for him in the next one!”




Wasted On Some, read by Charly & Bill Skilling


Jan Blake

“I’m in a bit of a quandry re. De Chirico’s Song of Love – not that I haven’t given it a lot of thought! So my offering is almost an insane antidote to the subject matter, but none the less a real metaphysical concept of a building that I saw in Mexico some years ago. There are no holds barred when it comes to planning permission in Mexico. This curious mixture of ideas is an artwork in itself. Originally a thirties building full of the symbolism that pertains to that era in cinemas and the like, now it is the premises of car mechanics, and they have proudly painted it bright yellow. This is a poor area of Guadalajara, full of artisans and mechanics. The joy in colour and self expression shows a true love of their craft and life itself, whatever the hardships.”


janblake.co.uk


Emily Clarkson

“After having a quick read up on some of the influences behind Chirico’s work, I felt like attempting a surrealist version of my lockdown environment! I was inspired by an article written for the ‘museum of modern art‘ on Giorgio de Chirico’s ‘The Song of Love’. The author described de Chirico’s marrying of ‘dissimilar objects’, and noted that some of the eerie shapes and anxiety-inducing forms in his paintings may have been de Chirico depicting his world utterly torn apart by the first world war. It’s very hard to ignore our own monumental world event with it still happening- so I explored the absurdity of life in lockdown in the style of Giorgio. The space depicted is the dining room in which I have spent the vast majority of my time. I developed a love/hate relationship with that particular corner. Firstly my computer became less of a fun thing. It was previously a place I could work and also unwind. But then the internet dissolved into a white noise of concern and anxiety. And it became my main bittersweet connection to much missed family members. I, like many, took a deeper interest in what few houseplants I have. (We don’t have a garden)  So they lived on the windowsill next to me bathed in sun for a couple of hours every morning. My routine would see me coming in each day, armed with a cup of tea and putting the computer on – except for the rare occasions I had to go outside, then breathing obscured my vision in fog. (Glasses and masks don’t work together too well during winter). Lockdown turned the world on its head and I imagine there are millions of often overlooked objects out there, whose value has been totally altered as a result.” 


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


Francesca Maxwell

“Apparently, in this painting, De Chirico refers to his life and the fundamental things that keeps us alive. Based on Nietzsche’s “Thus Spoke Zarathustra”  «Aren’t all the words made for the heavy? Do not all words lie to those who are mild? Sing, don’t speak anymore ». From this, de Chirico took the title of his painting: Il Canto d’amore. So, not the words. but the song of art is what makes us overcome melancholy and still love life. This painting is the song of love for life and beauty, so this is my version of the song of love to life. I grew up in Genova, a city with wonderful architecture, built on steep hills, full of steps and narrow roads. As children our daily walk was, at the end of a long tree-lined avenue, to the Rotonda over-looking the sea and the harbour. I tried with this to show a bit of the joy I felt every day running to the balustrade and breathing in the sea. I had no time to painting it, so it is a pencil sketch.” 41 x 31 cm


www.FBM.me.uk


Kerfe Roig

“The collage I did evolved from a lot of other ideas, merging with Merril’s quadrille prompt at dVerse to use the word seed, and Brendan’s prompt at earthweal to write Songs of the Earth Shaman. I needed to consider this seemingly unsolvable riddle that is human life on earth from more than one side.”



1 Here

a handless glove, a stone
visage.  A blue orb
planted with life.  Dust
seeds blown by
cosmic winds.

Look backward to see
the future.  Ruins
of visions.  Monumental
doors to nowhere.
The detritus of humanity.
Is this all
that we wish
to leave behind?


2  A Meditation or Maybe a Prayer

for those who ask and those
who don’t answer.  For those
who always make way and those
who have never been found.
For what we know and refuse
to acknowledge.  For what
stands in the center of what
we think we believe.  For what
remains when faith has fallen
apart.  For the times that we
begin again and the times
that seem to have no ending.
For what we hold against
others and what we keep
to ourselves.  For the impossible
and the improbable and all
the borders we draw to keep
from finding out.

Listen.  I am
waiting for you
to come home.


kblog.blog / methodtwomadness.wordpress.com


Tom Beg

“These photos taken in Japan are a mix of old and new, but in all instances I was probably looking for and trying to capture the same thing. Mostly, the sense of a passage of time, and a kind of dreamy nostalgia. These just so happen to also be the themes of De Chirico that resonate with me the most.”


twitter.com/earthlystranger / vimeo.com/tombeg


With thanks to Berlin-based Kick-Abouter, Phil Cooper, we have a highly evocative film by Howard Sooley, as our new prompt, and its subject, Derek Jarman’s Prospect Cottage. Lots of jumping-off points here. Have fun and see you again on the other side.



The Kick-About #26 ‘52.1429’


Welcome to this first anniversary edition of The Kick-About, a fortnightly blog-based creative challenge in which artists of all stripes come together to present work in response to a given prompt. I asked contributors to choose a favourite work of their own from the previous twenty-five editions so I could celebrate them all together here.

I just want to say a personal note of thanks to everyone who takes part. Producing new ideas and new work in under a fortnight brings with it its own challenges, insecurities and pressures, but if you’re anything like me, you will have enjoyed the otherwise simple satisfaction of making work, getting it done, expressing your creativity, and sharing it with a supportive community. Some of you have thanked me for hosting the Kick-About, and some of you have even worried about the work and time I may be giving it; rest assured, this is the work I like to do and I’m very happy to do it.

Thanks to everyone who has taken part this last year, and I’m very much hoping we can continue to combine our efforts as productively and imaginatively in the coming weeks. Now, just look at what you did…


Judy Watson

From Kick-About No.2 – ‘Metropolis

“Thanks for the Kick-About. For some of us, making art is as natural as breathing, and sometimes almost as necessary to life. During a dark time in history, thanks for stimulating art prompts among creative friends, unfettered by constraints, rules or judgement. Freedom to make in any direction. It’s been a joy. And since you want one favourite, I’m selecting those Bird Ladies from Kick-About No.2. And I hope they sort themselves out soon and send that bureaucratic penguin back to Antarctica.”


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


Phill Hosking

From The Kick-About No.4 – Orphée

I’ve not been as involved as others in the bi-weekly Kick-About posts, but I’ve seriously enjoyed the challenge of completely unexpected briefs. I’ve chosen to include my piece ‘Orpheus’ this week. This one stood out to me for several reasons, partly because it allowed me to flex my digital painting muscles again, something I’d neglected for a while. Also it was a powerful story that instantly brought up images, compositions and drama. That narrative aspect is something I often neglect in my personal work. This was the challenge, like I had to capture the story, as if on the front cover of book. Our hero enters the underworld, ‘hell’ bent on saving his wife ‘Eurydice’ from the clutches of the dark forces below. Everything a digital painter wants in an image.”


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


Gary Thorne

From The Kick-About No.9 – ‘Short Ride In A Fast Machine’

“Selecting KA9 is easy, as it reminds me of how important instinct is within process, as well the time span of sitting across 4 hours 40 minutes to complete a process. I trusted my responses to the music, invited in chance, kept the demon of doubt outside the door, and I enjoyed colour as an  adventure. KA9 felt like a pure creative experience and it beckons me on to do more. The community of KA has been totally enriching and so rewarding.” 


linkedin.com/in/gary-thorne


Emily Clarkson

From Kick-About No.1 – ‘Moon In A Bottle’

“Kick-About No.1 was a cathartic experience as I’m often caught up on details and reasoning. And those hang-ups can sometimes paralyse my creativity. I realise now, sometimes it’s just a simple premise, and it’s dumb fun and exploration that’s needed. And I definitely found joy and a small sense of achievement in that process!”


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


Vanessa Clegg

From The Kick-About No.7 – ‘Ennui’

“Weirdly enough I’ve chosen this..a tough call but although I loved putting together the installations I only record them as 6” X 4” photos, which are then put into a KA book as a record. However, I do have my drawings, so could take a better photo, as they’re bigger! I chose this as it WAS tedious in its repetitive way, but after a while it became a form of meditation, and I was happy with the outcome, which is rare. Actually I could have chosen any as far as enjoying the process goes, so onwards to the next…” Graphite on Fabriano.


vanessaclegg.co.uk


Benedict Blythe

From The Kick-About No.8 – ‘Cicada’

“An epic and bi-sectioned electronic piece telling the story of the cicada life from a more dark point of view. Beware – the first four minutes are much quieter than the last two. Good speakers or headphones are recommended.”


soundcloud.com/BenedictBlythe


TJ and Jo Norman 

From the Kick-About No.5 – ‘Symbols’


“PUPA”

www.tjnartists.com / #tjnartists


Graeme Daly

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

“The Kick About has brought me to places I’ve never dreamed of going. I’ve dipped my toes into mediums, styles and parts of myself that have otherwise been sealed off. I have learned to find magic in the mundane, while learning a great deal about films, authors, and artists, from the many prompts we have created together. I  always feel inspired to see what you all have created every fortnight, so for that I am thankful to all you fellow kick-abouters for your words and creations. 

In saying that, it is difficult to choose a favourite, as they all have been a joy to see flourish. One Kick-About does come to mind and that is No. 22, which was the art, life and times of the Austrian painter, Eugen von Ransonnet-Villez, and with it the Pools film. The reason why it is my favourite is because of the way it came to be and the journey it took to get it to that state. I wasn’t seeking this film out. I wasn’t trying to capture anything like it, I didn’t even know this place existed. I was merely bouncing around the innards of the forestry one bitter cold winter morning when a dumping of snow was beginning to melt, and where I set out to capture the extrusion of thick snow rimmed treetops. I found all that, but I also found this film – in a trench of shallow, glistening water.

Making Pools was a creative journey, and I’m thankful it happened in such an organic way: from finding the place and deciding to film it, to viewing the resulting footage as flawed, while still being preoccupied by it, to the Kick-About prompt providing the perfect opportunity to salvage the film into something I’m proud of.

It was a pure delve into the unknown to make something just for the sake of it, not knowing how the outcome would look but just enjoying the whole process of making this thing. I think, in its essence, that is what is so great about The Kick About and why I love being a part of it with you all.”


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


Tom Beg

From Kick-About No.2 – ‘Metropolis

“At the time of the making of my Metropolis images for The Kick-About #2 I had been living in the same apartment for over three years, and for some reason had never really taken the time to explore the surrounding area with the eye of a photographer or an artist, mostly because it all just seemed very boxy and residential in a way that I have become totally accustomed to seeing every day.

However, with a lot of free time and a phone-camera in hand, I thought that surely the true mundaneness of a real metropolis could be made into something interesting somehow. After fiddling with some images, I ended up with some quite authentic looking silent film production set photos which of course really reminded me of that other Metropolis. I think they even capture the unusual atmosphere and uncertainty of the time they were created.”


twitter.com/earthlystranger / vimeo.com/tombeg


Simon Holland

“I choose this one because I managed to capture a very personal sense of nostalgia, which is something that I had been trying to crack for a while. Also, it was the first time I had been motivated to break out the paints for over a year, which is a long time, especially when I had been making work every day. It highlighted to me that I need to stronger with myself as a creative and have the fortitude to keep pushing through various blocks and it did herald a period of increased productivity. Also, it is one of the artier of my submissions…”


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


Francesca Maxwell

From Kick-About No.6 – ‘A Field Guide To Getting Lost’

“The Kick-About #6 is still one of my favourite prompts, and one of the most meaningful series of paintings I have done in the last few years. It represents the beginning of a new creative journey for me, a new painting style, and, at the same time, it encompasses much of my life and experiences. For this “anniversary” I picked just one of the four, my favourite, and the first one I painted. It was originally inspired by a photograph of the Canadian winter landscape by Evelin Berg and, as I mentioned, were partly concept paintings for a short animation I haven’t finished yet. The journey, the film, the story….all still ongoing.” Ink on watercolour paper, 240x680cm.


www.FBM.me.uk


Julien Van Wallendael

From The Kick-About No.12 – ‘The Cottingley Fairies’


jvwlld.wixsite.com/portfolio / instagram.com/fruit.fool / linkedin.com/in/julien-van-wallendael


Tony Reeves

From The Kick-About No.2 – ‘Metropolis’


twitter.com/Nature_FoN / forcesofnaturerecords.bandcamp.com


Charly Skilling

From Kick-About No.6 – ‘A Field Guide To Getting Lost’

“I have learnt so much over the last year from participating in The Kick-About, and enjoyed so many different aspects, that I found it really difficult to pick a ‘favourite’. Some pieces have stretched me technically, some have taken me into totally unfamiliar territory, some have felt satisfactorily “complete”. But one submission made me smile when it first occurred to me, smile as I worked on it, and smile even now when I read it back. I can’t think of a better reason for re-visiting it, so my ‘Favourite Kick-About’ is Field Guide to Getting Lost and The Ballad of Ethel and Hilda’.



Jan Blake

From The Kick-About No.21 – ‘The Five Canons Of Rhetoric’

“It’s the Five Canons of Rhetoric! I’ve chosen this one as it made me really think about my work and its origins and process. It led to the story of this Sea Heart pod that continues to fascinate me along with all the other seed-pods in my life! The journey of this pod crept into the following Kick-About as well, maybe because I can’t travel at the moment and I long to be doing so. It always refreshes my mind and creativity… apart from missing my friends in distant lands.”


janblake.co.uk


Molly Bolder

From The Kick-About No.8 – ‘Cicada’


instagram.com/mollys_makes / facebook.com/MollyBMakes


Glen Coleman

‘Wane’ from The Kick-About No.1 – ‘Moon In A Bottle’


linkedin.com/in/glen-coleman


Maxine Chester

From The Kick-About No.4 – Orphée

“The prompt was Cocteau’s Orpheus, because of the element of serendipity: on a Covid walk, I dragged home two entwined ivy trees, saw the prompt, (not sure which happened first)  something clicked, and I set about exploring the potential…”


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


Stephen Foy-Philp

From the Kick-About No.5 – ‘Symbols’


instagram.com/stephen_fp_


James Randall

From The Kick-About No.23 – ‘Museum Wormianum’


“The KA’s have been a great way to divert my attention and have provided reason for exploration of deep buried thoughts. Thank you’s to all of you who have donated jumping off points – sometimes they resonate so deafeningly – not always at the point of conceptualising – the museum KA didn’t kick-in for me until I started putting paint to paper but then it dragged up some of the creative juices that I thought had been long gone. So I guess that makes it my significant KA moment.  I love the tantalising breadth of work created by all of you. KA reveal days are always so exciting. It amazes me how you seem to tumble out great pieces or concepts. Also amazing how open you have been with background stories to some of the works. Thanks again and I hope KA can continue long after lockdown.”



Brian Noble

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


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


Harry Bell

From Kick-About No.2 – ‘Metropolis


harrybellart.com / facebook.com/harrybellartist/ facebook.com/Harry-Bell-Cartoons-Illustration-364689853546105/ instagram.com/harrybell.art


Vikki Kerslake

From Kick-About No.2 – ‘Metropolis



Kevin Clarkson

From The Kick-About No.22 – ‘Eugen von Rannsonet-Villez’

“In response to the “Kick-about anniversary” (and my very small contribution to it) I have chosen to revisit my take on the Eugen von Ransonnet Villez submarine paintings.

Marine paintings have become a large part of my creative output over the last decade. As a graphic designer just over ten years ago my health took something of a wobble and the medical advice was to change lifestyle. This evolved over a few years and resulted in less use of the mouse and tablet and more the old fashioned paintbrush. It became as much as anything else a journey of self discovery. Several visual themes emerged but the one most urgent in my need to explore was the sea. I soon found like minded painters at the National Maritime Museum Art Club where I became chairman. The club has had a couple of identity changes since then but still exists as the Thames Maritime Artists and I am still chairman.

The limpid, accurately observed and interpreted tones and colours used by Ransonnel Villez immediately struck a chord with my own struggle to capture how we see water and objects in water. Seascape and coastal painting is quite a niche area in painting, not fashionable, and hasn’t been since the Royal Navy stopped ruling the waves, but I have never been troubled by fashion. For me the test of how well I am performing is to be judged by peers and to that end over a number of years I have submitted paintings to the Royal Society of Marine Artists annual open exhibition at the Mall Galleries in London. For four years I failed to get anything into the show, I was disappointed but not discouraged and eventually in 2019 I got a piece into the show. In 2020 in the middle of the pandemic I got two pieces in – and won the Classic Boat Prize. It certainly does not beat taking your life in your hands going under the sea in a primitive diving bell but sometimes dogged persistence does pay off. I have attached a couple of RSMA exhibition to add to the original set.”


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


Eleanor Spence-Welch

From the Kick-About No.5 – ‘Symbols’

“For the Kick-About I’d like to submit my Symbols piece (#5). Of all the digital work I’ve produced over the last year, it stands out to me as being truly different and emotionally driven. Something in Alice Neel’s original painting really clicked with me.”


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


Robbie Cheadle

From The Kick-About No.12 – ‘The Cottingley Fairies’


robbiesinspiration.wordpress.com


Marion Raper

From The Kick-About No.3 – ‘Dance of the Happy Shades’

“I would like to choose ‘Dance of the Happy Shades’ as my favourite piece. It was my very first appearance on the Kick-about and possibly one of my best works. It involved using the mixed media of silk material and painting, and I felt it was a good showcase for my manipulative skills with fabric. I definitely got a buzz from seeing my picture on the internet and I loved using the bright, cheerful colours. It made me feel excited, hopeful and creative even though it was the start of lockdown.”



Liam Scarlino

While I haven’t been able to contribute as often as I would like in recent months, The Kick-About is a welcome stretch away from my day-to-day. Working in design, I’ve felt it more and more challenging to work without a brief or steer, to make for the pleasure of making, without feeling the need to justify time spent playing as part of a longer project or showreel piece. The Kick-About has provided that stimulus, giving a direction but not a destination, and a space to remember that away from the rounds of amends, renders and timesheets, making is simply, fun. For this reason, making a witches bottle due to a misreading of a painting by Alice Neel was the most enjoyable project for me, reading and researching down whatever avenue seemed interesting, formulating an idea without thinking of demographics or target audience, and then making something however crudely with real physical materials, not worrying about brand guidelines or alignment or safe margins. Looking at the high quality of the other submissions makes it lucky I’m dressing up my motivation in the same outfit as naive or folk art. However, at a time which created a step back from our daily lives and the time to think about why we do the things we do, for me The Kick-About is the reminder I needed to not pack everything in and try to manage a hedge fund. Joy! It’s all about joy!


 liamscarlino.net vimeo.com/liamscarlino


Jackie Hagan

From The Kick-About No.22 –  ‘Eugen von Ransonnet-Villez’



Kerfe Roig

From The Kick-About No.13 – ‘Ersilia’

“I’m choosing the Invisible Cities (Ersilla) prompt as my favorite. First, because it was something I wanted to do as soon as I read the book a few years ago, but had never gotten around to.  And also because it expanded my work from my usual repertoire, which is basically 2-dimensional. 

I would say that almost all the prompts have pushed me further than I would normally go outside my comfort zone which is a very good thing.  And everyone else’s work is so inspiring, it keeps my mind full of different ideas and inspiration.”



Alan Postings

From Kick-About No.2 – ‘Metropolis


website / linkedin.com/in/alanpostings


Phil Cooper

From The Kick-About No.4 – Orphée

“I’ve loved being part of the Kick-About over the last year. It’s got me doing things I’ve never done before, such as writing and recording my own voice, and it’s going me doing things that I’d never have done without it, so a big thank you, Phil, for putting this together every fortnight. It’s been a real pleasure seeing how people have responded to the prompts and I’m always in awe of the variety, the talent and the creativity that appears in each post.

I’ve got a few favourites from the past year, but i’m choosing this image, which I called ‘Forest Flare’ and made in response to the Orphée’prompt way back last June I think. I painted some 2D trees, an arch and a sky onto card, and then lit and photographed th em on my desk. The main reason I was pleased with how it turned out is that, in the photographic image, a small figure appeared, sitting on the floor, framed by the arch and looking like a faun that had wandered out of the paper forest. It wasn’t there when I looked at the table top set up, but some magic happened in the camera and the image turned out more interesting that I’d planned – quite spooky!”


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


Phil Gomm

From The Kick-About No. 20 – ‘The Ashley Book Of Knots

“I’ve chosen ‘Baba’s Important Work’ because the resulting short story speaks to the power of a random prompt to produce something satisfying, unpredictable and inevitable-seeming. That a story set in a static caravan, in some dystopian society, should have issued from an old book on nautical knot-work, makes me feel excited about the creative process in all its strangeness. I find it reassuring too, a bit like going to Old Mother Hubbard’s cupboard, opening its doors, and finding, thank goodness, there are still ideas in there after all.



Marcy Erb

From The Kick-About No.10 – ‘Romantic Museum’

“Albatross Box is the only sculpture I’ve done for the Kick Abouts – and it is the one that has proven the most constant source of inspiration since I made it. It is still hung up in my house, changing with the light and day and it is a source of endless fascination for my 3 year old. Once COVID restrictions ease a bit, I’d love to scout out some more bones and do a few more bone shadow boxes with poetry and make it a series (I confess to already rescuing another wooden box from the curb in anticipation!). “


marcyerb.com


Jordan Buckner

From Kick-About No.1 – ‘Moon In A Bottle’

“Picking a personal favourite is so tricky! My mind immediately jumps to the Alice Neel prompt from Kick-About #3. I really enjoyed the making of that piece in it’s simplicity and assemblage of iconography. I also enjoyed Kick-About #23 in which I could channel grief into some strange cardboard constructions. Both of those prompts were so calming and helpful to produce. But if I’m honest with myself, I think the very first Kick-About was my favourite subject, largely because the Max Ernst prompt is well suited to my comfort zone – bizarre landscapes and painting methods. What a boring choice I know, but I remember that painting evolving so clearly in my head, and it was a joy.”


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


And, oh look, we’re off again already – with a new painting-based prompt, Giorgio de Chirico’s The Song Of Love (1914)…


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 #20 – The Ashley Book Of Knots


The Kick-About always casts its net very wide. Our last haul, inspired by Ernst Haeckel’s Art Forms In Nature, landed a shimmering catch of creativity. Our nets don’t always require knots, but this week’s edition of the Kick-About is all about the nip!


Francesca Maxwell

“Here I have a painting called ‘Unravel’. Not a knot supposed to hold or anchor, then it will not work, having lost the nip. But I see it as a knot of the heart, which is finally finding a way to disentangle and on its way to separate and free the separate bits and pieces.” Inks on paper 76 X 57 cm.


www.FBM.me.uk


Phil Cooper

“I was walking through a park near where we live in Berlin recently and I noticed that all the leaves of the hops and traveller’s joy had been stripped away, leaving a seething mass of twisted and knotted stems. Aha, I thought – the kick about! The writhing stems had all grown around each other, squirming over the shrubs and fences, they were rather lovely, wet and glistening after rain, and retaining a surprising amount of colour. I’ve drawn a study of the stems, with some dried, curled up dead leaves trapped in the nets.”


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


Vanessa Clegg

“‘Tying the knot’ brings up images of 1950’s bride magazines, bended knee, white net, sparkly bits… So that’s where I went, fossicking around in my studio, finding what I could to knit an image or two together. The nip, I think, could be the commitment made? This is the traditional engagement stage – maybe pressure exerted to get there, or even to stay there? It all hangs on this in order to get to stage two. Perhaps that’s the true tie, but I like the unpredictability of the promise, sealed with a reflecting star on a finge, .a doorway to respectability. Definitely (thank goodness) part of a time warp, not entirely obsolete, but so many other ways to get that ‘nip’.”


vanessaclegg.co.uk


Kerfe Roig

“It’s been a long time since I did any macrame, but I love to embroider, entranced by everything about it–the floss itself, the color and texture, the rhythmic and repetitive motions that are so like meditation, the gradual revelation of something new. I’ve done a lot of embroidery on paper, but I couldn’t remember ever trying French Knots, also called Seed Stitch. My mandala papers are fairly sturdy, so I painted one, inspired by Monet, and searched through my embroidery floss boxes for similar colors. Besides their practical and decorative uses, knots can symbolize many things, from the vows of marriage, to a puzzle to be solved. They are connected to threads of all kinds, and thus the interweavings that form and support all of life. The French Knot is a simple stitch–wind the floss 3 times around the needle and reinsert it into the hole made by bringing the thread to the surface–but like many simple things, it’s easy to become tangled up if you aren’t paying attention. Something that applies to all creative endeavors involving fibers. I’ve used the Badger’s Hexastitch form for my poem.”


I thread
the needle and
spirit passes into
matter returning to
the center of
the (w)hole

I twine
the floss around
the needle—one two three–
casting strands into knots
spelling rhythmic
patterns

I pause
to connect what
lies hidden below the
coiled surface—roots binding
up and down to
between


kblog.blog / methodtwomadness.wordpress.com


Gary Thorne

“I have a feeling I’ve not quite tightened the knot properly, and things have just quietly slipped away, making me no worthy seaman, but it’s a nice sunny day for having the boats off their mooring! Perhaps it suggests the up-coming summer-staycation on the North Kent coastline.” Oil on prepared paper 40cm x 50cm


linkedin.com/in/gary-thorne


Charly Skilling



Graeme Daly

“I had many options with this Kick-About, as Ireland’s heritage is teaming with Celtic knot and rope references in art jewellery and clothes. I decided to do a mash-up of different perspectives, one inspired by the picturesque Aran islands off Galway Bay, specifically the Aran sweater, knitted for the fishermen. The jumpers are made from the wool of the sheep that populate the fields in the islands, and retain their natural oils, meaning they are water repellent – ideal for Irish weather! Because the sweater is water repellent, the fishermen wouldn’t feel the chill from getting wet while out fishing. The stitches in an Aran sweater are used to signify different important factors, such as the diamond stitch representing the fields in the Aran Islands and which bestows health and success, while the cable stitch represents the fisherman’s ropes, and promise safety and good luck while out fishing. The combination of different stitches are divided into different clans for each family name of kinship in Ireland. Around the borders of my designs is the diamond stitch central to the specific Daly clan Aran sweater. The overall theme of these designs seeks to reflect Ancient Celtic artwork, including the triple spiral; the Irish believe everything happens in 3’s and can symbolise the mental, physical and spiritual self or birth, death and rebirth.”


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


Tom Beg

“I found the highly descriptive quote of tying a knot a little queasy and unnerving and I could feel it somehow more than I should have. It brought me to the idea of the knots and ropes imagined as gory body-horror, but retaining the intricacy and functionality of their original purpose. Quite how I made that leap I am not so sure, but it was certainly enjoyable making these as if I were some sort of mad artisan butcher.”


twitter.com/earthlystranger / vimeo.com/tombeg


Phill Hosking

“I guess, when seeing the rather charming front cover to one of the versions on the book of an old salty sea dog blissfully tying a knot, I couldn’t help but think in a nautical direction. Then, as a page of loosely tied knots started to emerge, so did pirates. Ropes and knots seemed symbolic in some way for how I draw and fill endless sketchbooks. Some loose ends, some ideas connected firmly, some pulling away into the meaningless unexplored abyss. I think to pursue the head honcho with his hands tied up would be the next step here, which I may well do.”


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


Marion Raper

“I can remember my dad showing me how to tie a Sheepshank knot and a Round turn with two half hitches.  I think I did manage to master them at the time but I’m knot so sure now! (Ouch). Anyway I have decided to stick to what I know best i.e:  the knots used in embroidery and crochet.  The rectangular brooch was made using an old buckle as a frame, the oval pendant a piece of shaped wire, while the coaster began life as a large circular earring.  All of these objects have various threads, wool and fabric knotted and looped on top. The bright pink wire was made in the manner of french knitting then flattened and sewn onto the design.   My other piece of work is an embroidered knot garden worked many years ago and getting a bit faded now, but I thought it was appropriate.”