The Kick-About #41 ‘La Ville’


From the ephemera of the last KA’s flowers of fire, to the more concrete energies of Fernand Leger’s La Ville, it’s another showcase of new works made in a short time by an eclectic group of creatives. We have ‘all sorts’ of different work in the mix – and quite literally this time too! Happy browsing.


Tom Beg

“I wanted to create an abstract image that conjured up the feeling of climbing some obscenely huge tower and looking down on the endlessly sprawling megalopolis below.”


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


Vanessa Clegg

“I don’t know why, but Léger’s work reminds me of liquorice allsorts, with a touch of fuzzy felts (remember them?) thrown in… So I spent an enjoyable afternoon playing with sweets, attempting to recreate something vaguely Léger-like, at the same time gobbling the residue – eating the art! Can’t recommend it highly enough!”



vanessaclegg.co.uk


Kerfe Roig

“A collage with words.”



The City (after Leger)

In the beginning you can divide the questions
into a multitude of forms.
For your second act define your journey.
Offer your voice to the silence of light.
Remember to open the secret red door.
Do you know why?
It’s too early to be the end.
Simple, really.


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“My daughter had the good fortune to go to the premiere of the film, House of Gucci, in London recently. Whilst watching the stars parade down the red carpet, she took a fabulous photo on her mobile. It captured Lady Gaga walking through a forest of mobiles held aloft, and with the city lights all around.  I thought this was such a great shot and would be just right for this Kick-About. I did a watercolour sketch first and then transcribed it into cubist terms.  How times have changed since the times of Leger!”



Charly Skilling

“I do not share Léger’s delight in modern cities, In fact, the aspect of British cities I most enjoy is the eclectic mixture of architecture from throughout the centuries. Here you are very likely to find long-established shops housed in medieval buildings, sagging gently against a some tall, stern, corsetted Victorian hotel, which is itself being eyeballed by a 1960’s concrete office block. Leger wrote to a friend, ‘I am still constantly astonished by the vertical urge of these people drunk with architecture. From my room on the thirtieth floor, the night is the most astonishing spectacle in the world. Nothing can be compared to it… This city is infernal. A mixture of elegance and toughness.’

I am trying to capture, in crochet, that spirit of a night time cityscape. It is a work in progress, but I started with sketches, then collage, and then began recreating some of those images in what will eventually be, (I think), a five-panelled piece of work. As you can see, there is a way to go!”



James Randall

Léger may have lived in an exciting time when cities were evolving rapidly with new industries and styles emerging – and I do love a new architectural design device today but, after the last year and a half, cities have lost a lot of gloss for me. In my KA submission I used building facade photos to recreate the Covid 19 virus model from the CDC and popped a little fiery hell below it. Looks fairly cheery to me!



Phil Gomm

“I took this photograph in Katowice, Poland, on the first of my two trips there in 2017 and 2019 respectively. My reason for visiting the city was on account of my collaboration with the orchestra there. This particular image was taken on my first visit, on a bright winter’s afternoon, as I explored the city in the gap between rehearsal and performance. Léger’s painting reminded me of this image, something about the absence of any horizon and all those vertical stripes, the prompt sending me back to my archives for a rummage.

The association made, I set myself the task of using this one photograph as the only element in a digital collage, re-sizing it, layering it, rotating it, slicing it up, and then building it back together again. Different layering combinations soon pushed out different colours, and ultimately, different cities, or rather the same city at different times of the day. In common with so many of these Kick-About challenges, I find restricting my available resources to be an effective way of getting into making different types of work.”




Phil Cooper

“Léger’s love of the city is evident in his painting, La Ville. It hums with the energy and activity of the ever-changing urban landscape. Everything in the painting looks on the move, new structures are rising up before our eyes, while others are being knocked down to make way for yet more construction.

I live in Berlin, a city with a unique history and a place that’s had more than it’s fair share of destruction and renewal. The life of the city here has ebbed and flowed like the tide, dying down and growing up again dramatically over the last hundred years or so. I’ve been out sketching recently, taking a little folding stool out into the neighbourhood where I live, drawing and painting quickly (because it’s so chilly here at the moment!), responding to the strong shapes of the architecture and the frequently shifting landscape of the streets.

This sketch for the Kick-About is of a ruined old building that was part of a factory complex. Not that old, but derelict and dead, waiting to be cleared away for something else. It was a great subject to paint, probably more interesting than the bland blocks of flats that will undoubtedly take its place soon. Léger celebrated the shiny energy of the new, but I’ve been drawn to the melancholy of the city that is disappearing.”


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


Graeme Daly

“With Léger’s La Ville being inspired by the city’s urbanisation I decided to mimic the feeling of constant change. Gritty photos taken on the streets of my current stomping ground in London are meshed together in a smorgasbord of shapes, colours and texture, to highlight the building up and tearing down of the fast paced concrete jungle.”


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


Thanks to regular Kick-Abouter, Phil Cooper, we have a new prompt, Andy Goldsworthy’s Ice Spiral, which is surely a secret wish for the magic of winter and other transformations. Have fun, and see you back here in December.



The Kick-About #40 ‘Flowers Of Fire’


After the gothic shadows of our last Kick-About together, how about a bit of flash, dazzle and colour? Inspired by the delightful illustrations from various collections of Japanese firework catalogues, the Kick-Abouters are lighting things up with a vibrant display of new works made in a short time. Whizz bang ooh ahh indeed!


Marion Raper

My first idea for this wonderful topic was to do some machine stitching on paper, as I thought I could get some exciting and interesting firework patterns with this. However, my sewing machine had other ideas and although I have used this method before, my needles kept breaking and I had to opt for plan B – hand stitching. First I used acrylic inks as background and then added various threads, sequins and oddments from my stash. As I sat sewing it came to me that life is like a firework! It starts off at great speed, happy, colourful and joyous, then there’s a bit of brilliance and sparkle and it finally shoots off into the heavens with a giant BOOM!!



Graeme Daly

Graeme:  I do have this massive piece of glass that was taken off a neighbour’s shower… it stands perfectly by itself, so I’m going to haul it into my room and give it a whirl for more experiments.

Phil: Don’t die.

Graeme: I’ll try!  I see why you love this practice so much. It’s so much fucking fun! I got lost in it. 


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


James Randall

“For some reason when I initially read the prompt list a lot of flowers types were in it (in my old persons head!) – so I worked with building photos and added flowers and water pics (from the archives) and Japanese type in a square format, but I had killed off any vitality. I ditched the type and changed the format to 1:3, and eventually lost the building layer. Also accidentally rotated the pic to portrait. I think it improved the piece.”



Phil Gomm

“This prompt got me thinking about ways I might make fireworks my photographic subject without burning down the house in the process! I settled upon an equivalent phenomena that shared both the ‘rainbows’ and ephemerality of fireworks, filling a large white bowl with water and lots of washing-up liquid, and setting about blowing large heaps of bubbles. I was able to focus on, and through, all the multiple planes of the bubbles, which I soon learned produced these nicely ‘explosive’ qualities. I was reminded of the moments just after a rocket explodes, so not the big sky-born chrysanthemums, but the petering out of the last few sparks against the smudges of smoke. I took a whole bunch of photographs, always trying to find the next most expressive composition, and all the time racing against the inevitable popping of my soapy installation. Even as I was happy with the resulting images, I felt pulled towards getting into the explosiveness a little more, evoking the sights and sounds of a firework display, and so putting some of these images to work. The short film ‘Whizz Bang Ooh Aah’ was the result of trying to do just that.”




Kerfe Roig

When I looked through the fireworks catalogues at all the different images, it made me think that the artists were trying to project their dreams into the sky.  Visions of wishes and magical things.  As usual, the collage turned out very differently than I imagined it, but I think it captures the spirit of what I intended to do.



fireworks

you dreamed without beginning–
breath, stars, flowers
of light

you were happy to hold
hands with what was
not there

you closed your eyes and sang
from the inside, way down,
like flying,

listening to your heart beating,
rearranging the pattern
into constellations

you released what you had not
seen—you gave it away
without thinking

you dreamed with your arms open
and became entirely unafraid–
spilled over


kblog.blog / methodtwomadness.wordpress.com


Phil Cooper

I really loved the Japanese firework illustrations for this prompt, they’re so controlled and carefully arranged; the opposite to what I think of as a firework going off, but they work beautifully. I’ve played with some photos I took a few weeks ago at the Britzer Garten in Berlin, where there was a fabulous display of Dahlias glowing in the autumn sunshine. The flowers were so firework-like, the colours so bright and hot, I really fell for them. We don’t have bonfire night here in Germany, so the Dahlias will have to do for me this year!


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


Tom Beg

“I was immediately struck by the simplicity of the illustrations, and how a few simply arranged shapes and colours could represent the forms of fireworks so well. I wanted to create something complex from something very simple and immediate, so I whipped up some very basic animation loops and then duplicated and rotated until some suitably cool looking abstract effects were generated. From a vertical orientation they remind me of fireworks shooting up into the sky and scattering in the atmosphere.”



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


Charly Skilling

“I didn’t think I was going to be able to contribute to this Kick-About because of time constraints, but I found I kept remembering the firework nights of my childhood (which, as you may already know, was a very long time ago!). In the end, the only way to get these memories out of my head was to put them down in words. Hopefully, it may trigger a memory for those of you old enough to remember, and for all the others, think of it as an example of the 1950’s English family at play. Weird or what!?”


You’ll find a PDF version here.


The last time painter, Fernand Léger, featured as a prompt for the Kick-About, we were treated to a mouth-watering display of food, fruit, and flowers. For our next creative departure, our destination is Leger’s 1919 painting, La Ville. Enjoy your city-break!



The Kick-About #36 ‘Phantom Of Surrealism’


With its sepia tint, post-card proportions, and London landmark, this week’s prompt, Sheila Legge’s Phantom of Surrealism, might just as easily have surfaced as part of our previous Kick-About, inspired by the word souvenir – though, as holiday snaps go, this one could take some explaining. This week, Legge’s abstruse tableau has prompted paintings, collage, computer-generated landscapes, creative writing and some rather extraordinary headgear… Happy browsing!


James Randall

“This prompt made me think of world conditions acting on Surrealists – where do movements come from – so my response is a meld of the flower head with environmental issues, and how I think the level of denial everyone has, to so many issues, comes into play.” 



Tom Beg

“Using the kind of desert backdrop that sets the stage of many surrealist paintings, I set out to create some of my own phantoms in the desert, and had a go at generating some suitably dreamy visions inspired by the motifs in the photograph.”


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


Graeme Daly

“When reading about Sheila Legge’s inspiration behind her walking real surrealist exhibition, and how she was so inspired by the paintings of Dalí, I decided to create some Dalí-esque dream-like landscapes, while paying homage to Legge’s faceful of flowers.”



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


Phil Gomm

“Taking Sheila Legge’s image and Kafka’s Gregor Samsa as equal parts inspiration, I arrived at this short story. There’s a bit of horticultural knowledge in there too, a thing about nasturtiums thriving in the poorest conditions, and likewise, the situation unfolding in Afghanistan for women and girls.”


You can find an online PDF version here


Marion Raper

“I’m not sure if this is surrealism or the stuff of nightmares! I think, subconsciously, I was reflecting on the plight of women under the Taliban regime ,and on other women who are trying to break free from cruelty etc.   Don’t ask me what the blue doughnuts symbolise – maybe hunger?  Enjoyed doing this and definitely made me think and be thankful.”



Charly Skilling

“I was surprised to find this photo was taken as early as 1936. When I first saw it, it reminded me strongly of a 1950-60’s fashion shot. I have no references for this, it was just what came to mind. However, it got me thinking about fashion, face-coverings, Gertrude Shilling and Afghanistan’s women, and I started working on hyperbolic crocheted decoration for an old straw hat. However, while hyperbolic crochet makes amazing, wonderful shapes, the process itself can be tedious, and as I worked on it, my brain ran on to thinking about what had prompted Sheila Legge to create that image in the first place. What was she trying to convey? What was I trying to convey? The old straw hat was discarded, a new hat structure created, and as my hands worked on the hat, my brain worked on the process, resulting in the short poem below. The poem came after the hat, so it may make sense to read it after viewing the images. Or not at all. Up to you.”


It starts as a glimmer, little more than a glow,
A smouldering fuse that might spark or no.
But then it starts burning a hole through your brain,
And scuppers your routines, sleep derailed like a train.
Once it colours your vision and pounds in your ear,
Ties you up in the passion, the self-doubt, the fear,
And even your loved ones decide to steer clear –
Then you’re in the grip of a Brilliant Idea!
Maybe.



Vanessa Clegg

“Robert Benayoun suggested that while Surrealism exalted ‘la femme’, the Surrealists did not equally revere ‘les femmes’. The histories of female Surrealists have often remained buried under those of male Surrealists, who have gained wider public recognition. Well, Sheila Legge with her head covered, sums this up nicely, as does the Magritte painting surrounded by the above. Referencing their artwork and naming all the mainly, “forgotten” women, I felt went somewhere towards redressing the balance!”


René Magritte, I Do Not See the [Woman] Hidden in the Forest, 1929


Vanessa Clegg, Ink and watercolour over print, (2021)

vanessaclegg.co.uk


Chris Rutter & Evelyn Bennett

“Here’s a drawing called ‘Leigh Bowery Look 8’.”


rutterandbennett.com / instagram.com/rutterandbennett


Kerfe Roig

I had a lot of ideas for this, but only had time for one. Perhaps I’ll get to the others for some future collage. The statuesque quality was what stood out for me, and of course, I can never resist birds…”


phantasma
goria exposed
by shadows
dissolving
into borrowed wings eclipsed
by casting out light


kblog.blog / methodtwomadness.wordpress.com


Judy Watson

“So there’s a coincidence! Just when I was reading the short stories of Leonora Carrington, who met Max Ernst and became involved with the surrealists in 1937 at the age of 20, the Kick-About veered into the very same territory with Sheila Legge. All I have to offer the Kick-About today is the beginnings of a… something… featuring some bird-headed, flower-headed women. They will possibly eat one another. I may add colour if there’s anything left of them by tomorrow…”



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


With thanks to regular Kick-Abouter, James Randall, our new prompt for our thirty-seventh run-around: Peter Mungkuri’s Punu Ngura (2019). Have fun and see you back here soon for another celebration of creativity, process and lateral-thinking. As ever, looking forward to it.



The Kick-About #35 ‘Souvenir’


Our last Kick-About together was illuminated by Marie Menken’s experimental film, Lights. Made in 1966, the glow coming off Menken’s film is as much powered by a certain nostalgia for a particular time and place, as it is by electricity. Our attachment to artifacts of the past, and commitment to keeping and collecting moments-in-time, however fleeting, is explored in this week’s showcase of new work created by an eclectic community of creatives in the short space of two weeks. Enjoy.


Gary Thorne

“In 1959, my Mother took an emotional transatlantic flight from Vancouver to visit her folks in Bournemouth, whom she had not seen since 1951. On return, she brought home ‘memorable somethings’ for each of us four boys. At age seven I was thrilled with owning Sooty, hence today he is the most cherished of my possessions. My little 62 year old muse posed as part of ‘paintings of a morning’ achieved across the 31 days of August 2020, which mostly referenced local produce. This past week, this unassuming 20 x 20cm oil on board portrait was on exhibit in Whitstable’s The View Gallery, alongside 40 of my paintings.”


linkedin.com/in/gary-thorne


Charly Skilling

Hmmm… Just one word, eh? “Souvenir”. First thought was of those plastic lighthouses from the Isle of Wight filled with bands of different coloured sand; or a “Kiss Me Quick” hat from Blackpool. (Don’t know why. I’ve never owned either of them.) Second thought was the original meaning of the word, “to occur to the mind”. And the third thought was… my little red tartan box! Never having been the sort of person to let one word stand where a few hundred words might happily swarm, I hope the following words and images impart to you something of what my little red box means to me.”




Vanessa Clegg

This is via a friend who has a friend, who bought the watch back from China (obviously a while ago), so not my own souvenir but one I couldn’t resist! The star goes around, and I think the arm must wave on the hour… brilliant. ‘Keeping Time’, graphite and watercolour on paper.


vanessaclegg.co.uk


James Randall

“We recently had a wonderful day visiting the Queensland Art Gallery, which was showing a selection of master works from the Met. Great show. Halfway through it they offered a number of activities to clear away the visual overload, including a costumed life drawing station. I took the weight off my feet and did a quick sketch – my souvenir from the show. Since then I’ve been layering the sketch over some brightly recoloured charcoal layers. A bit of fun for me to do.”



Francesca Maxwell

“Here is my souvenir. A shell picked up on some holiday, turned into an etching a long time ago when I was studying under my maestro, now turned into a memento of another time, another place, another life…” Drypoint 15 x 12 cm.


www.FBM.me.uk


Kerfe Roig

“The prompt of souvenir seemed perfect: my daughter had given me a small sketchbook, and every day I sat on my beach chair with my feet in the waves doing a drawing, and then writing a haiku to accompany it.  The sketchbook would be my souvenir.

On the last day the ocean was quite rough, due to Hurricane Henri passing by, so I sat far up on the sand, where only a small piece of a dying wave occasionally brushed my toes.  Holding my sketchbook up to let the watercolor pencil drawing dry I was suddenly totally upended by a rogue wave that covered me completely. I stood up, soaked, clutching my pencils in one hand, but watching my sketchbook being pulled under and out to sea.  I will replay that image in my mind for a long time, maybe forever. When I got home, I channeled my emotional turmoil into neocolors, drawing from memory the ocean that was now fixed in my mind.  The sketchbook drawings were so much more beautiful though.  At least that’s how I’ll always remember them.”



Souvenir

I could not
look at it from be
fore or aft
er, only
the angle of gone, dissolved,
empty, vanishing–

not just the
material thing
that had been
dispossessed,
but what it represented–
a piece of myself,

never to
be recovered–and
here I am
left watching,
clinging to impermanence
like water and wind


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“I mentioned before I am a bit if a hoarder, and therefore this prompt was rather a godsend to me. I have had some fabulous holidays but one of the most exciting was a trip to Arizona – the highlight being a trip to Tombstone. It was a fascinating place, and kept in it’s original state with a saloon bar, horse drawn carriages, and, of course, the OK Corral. It is said that ‘Death never took a holiday in Tombstone’ My souvenirs include copies of some old posters and a booklet listing the graves in Boothill Graveyard. The headstones include descriptions of how some residents met their demise, such as ‘Hanged by mistake,’ ‘Wagon rang over his head’ and ‘Discussion over fastest way to draw’. Life was tough in those days! Another treasured poster is an original photo of Geronimo and friends in the battlefield in 1886. The scenery of Arizona is breathtaking and I have attempted to paint the Chiracahua National Monument where Geronimo and his Apache band once found refuge.”




Phil Gomm

“I’ve got a number of scars on my forty-six year old body; the ubiquitous BCG crater on my arm, a hernia scar from when I was a tiny baby, a ‘hole’ between my eyebrows where I picked a chicken pox spot, and more recently acquired, a scattering of other facial scars following a particularly nasty attack of shingles back in the winter of 2015. You might call these dents and puckerings my ‘souvenirs’ of the wear-and-tear of just being alive.

One of my favourite scenes in Jaws (1975), is the sweet, funny moment when grizzled shark-hunter Quint compares war wounds with the more academic oceanographer and shark expert, Matt Hooper. The two men trade stories about the various different ways various different things have taken lumps out of their respective flesh, leaving them with anecdotes written into the surfaces of their bodies. Meanwhile, Chief Brody looks on, deciding against sharing his own battle scar, because, we suspect, his ‘souvenir ‘ is unlikely to impress. I know how Brody feels. With this in mind, I’ve imagined myself as being as colorful a character as Quint, and with just as many stories to tell about terrifying encounters and near-death experiences, and all of them leaving their mark on my body. These imaginary encounters derive from the spectacular dangers of my adolescent life, or rather from my formative confrontations with a host of larger-than-life fictional perils found in paperbacks and on VHS cassette tapes…”



Graeme Daly

“I don’t know about anyone else but I have felt a shift in the air with things starting to feel more autumnal. I may have been watching too many horror and slasher films, but for this prompt, my head went straight to the macabre…”


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


Tom Beg

“Near to my place here in Japan is a lonely, tucked away and somewhat overgrown Buddhist temple. There are thousands of these all over the country and they are always filled with interesting statues, iconography, mementos and architecture that give us a glimpse and a reminder into the history of places and people. I braved the 32 degree sunshine and mosquitoes so that I could capture the moment of that place and perhaps in the future, look back and be reminded of hot and humid August afternoons somewhere far away from home.”


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


Jan Blake

“Apart from my huge collection of pods I have brought back, or been given, from all over the world my inspiration for this Kick-About came from a specific experience that continually informs my work. I’ve spoken of it before in a previous KA. It’s that time of year again for the storms to transform the coastal dunes around the island of Isle D’Oleron. It will always mark that change for me between Summer and Autumn.  So I am taken back to the dunes, and those battered fences that are twisted and turned by the raging sea.”


janblake.co.uk


Chris Rutter & Evelyn Bennett

“We made an anagram of Souvenir – In Over Us – and this reminded us of rainy days in Berlin some years ago.”


rutterandbennett.com / instagram.com/rutterandbennett


With many thanks to regular kick-abouter, Vanessa Clegg, with have a brand new prompt to see us off on our next series of creative undertakings. Introducing The Phantom of Surrealism



The Kick-About #34 ‘Menken’s Lights’


How do you follow a dancing chicken? This sounds like the beginning of a bad joke, I know, but after the previous Kick-About’s riffing on a theme of performing poultry, where next for our fearless community of creatives? Fortunately, we have Marie Menken’s Lights to illuminate the workings of our respective imaginations, as this week we showcase new works created in response to Menken’s 1966 experimental film. Enjoy.


Vanessa Clegg


“A Light in the Night.1”. Crayon on watercolour paper.10 cm X 9 cm

“ A Light in the Night.2” Watercolour on watercolour paper. 10cm X 7cm

vanessaclegg.co.uk


Phil Cooper

“I love the prompt for the Kick About this week. Ever since I can remember I’ve been excited by Christmas lights and decorations, things that only have one purpose and that’s to be lovely to look at. As a kid I yearned for Christmas as it was a time of the year when the beige colour palette of 70’s life was momentarily broken and you didn’t need any excuse to cover things in glitter and garishly-coloured baubles. Marie Menken’s film makes me quite wistful for those childhood Christmases. It’s summer and still sweltering here in Berlin, though, and Christmas trees feel a very long way off. So, for my response, I’ve filmed some Alder trees which overhang one of our favourite bathing lakes in the Grunewald forest to the south east of the city. In the late afternoon the sunlight is reflected off the rippling surface of the lake onto the undersides of the Alder leaves and the effect is like being in a giant green disco ball. It’s rather lovely, relaxing and cheering at the same time.” 


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


Marion Raper

“The theme of lights made me think of city lights and as I was enraptured with the Olympics I managed to find a wonderful photograph of the city of Tokyo. It’s so dazzling and vibrant I feel that you would need to wear sunglasses permanantly if you lived or worked there. I just love the contrast of the vivid reds and neon oranges against the blue of the skyscraper buildings.  You can just imagine the crowds of onlookers gazing up in awe and wonderment. Not so sure what they would think of my Japanese lettering however!”




Phil Gomm

“There is something so emancipating about Menken’s experimental short film, Lights; it expresses a sort of child-like wonder in the way in which the camera transforms what it sees – municipal Christmas decorations into streaking discs of glowing colour and traffic into living electrified scribbles. You get a sense of Menken playing and exploring, embracing the ‘failure’ of the technology at her disposal to cope with light, time and motion, producing vibrant smears and patterns from otherwise rather ubiquitous components.

With this playfulness very much in mind, I tried something quick and dirty: painting a sheet of glass with black acrylic, before scratching parts of the painted surface away in the form of lines of irregular dots and dashes. Very simply, the painted sheet of glass was then positioned in front of windows, bright environments and television screens, and the surface of the glass photographed. Sometimes, during one exposure, I would push the focus from pin-prick sharp to diffuse, which had the satisfying effect of ‘spherizing’ the scratched patterns on the surface of the glass, producing the illusion of strings of lights or illuminated bubbles. I don’t mind admitting some of the resulting images had me laughing out loud with pleasure, so closely did they recall the aesthetic of mid-century avant-garde animations and the like. It gave me a secret squizz of pleasure too – the trick of it, the very fact of me not, in fact, photographing strings of fairy-lights or pastel-coloured Christmas baubles, or those long balloons out of which you might fashion a poodle: no, just a sheet of glass, painted black, with marks scratched into it using the end of a matchstick and a zester swiped from the kitchen drawer.

After that, there was no stopping me, and for days afterwards, I was lying on different floors around my house trying a bunch of different things with this same sheet of hurriedly painted glass. There have been moments over this last fortnight when I have been completely at peace creatively, just trying stuff out and worrying not at all about the other things a man of my age and responsibilities should probably be thinking about.”



Tom Beg

“I wanted the capture the potential that experimental filmmakers like Marie Menken saw in the mediums of their era, and just make something that moved and tickled the senses, without being overly narrative driven or thematic. I’ve always been inspired by the directness of film, and the lack of control, so when using modern software, I try to look for ways of losing control to get the kind of happy accidents that occur when you use analogue formats.

The lights and camera effects in this animation were all generated semi-randomly so seeing the final visuals in this animation made me feel in the same way that Menken and her peers probably felt when they got their processed film back, and marveled at the bizarre and wonderful things they had captured. In the spirit of that, I named the animation after her.”



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


Kerfe Roig

This prompt was perfect for an idea I’ve wanted to try for awhile.  I did a layered collage with a drawing and a map with circles cut out on top awhile ago, but I wanted to try it with two layers of pattern, and the lights were a good inspiration.  It took me a while to figure out how to do the watercolor to get the effect I wanted, but finally I got two paintings I thought would work well as layers.  I cut circles out of one of them, and made different arrangements of all 3 components–ground, cut circle painting, and the circles themselves.  I’ve photographed both the original elements and some different layerings. I was pleased with the way it managed to evoke the flashing and moving lights of the film.”


kblog.blog / methodtwomadness.wordpress.com


James Randall

“I See The Lights:  I’ve been taking a lot of iPhone shots of light through windows landing on walls – through palm trees outside and through screens so I used those as a basis for this KA. Layered them in different colours then added some charcoal scribbles and a few shapes from previous Illustrator files. Not exactly cheery again – maybe therapy!”



Chris Rutter & Evelyn Bennett

“Evelyn is being ‘Guided by the Lights’ in her painting. I am noodling on ‘Always on your Mind’ by Elvis (today I bought a motorbike, which is the same as Elvis used in ‘Roustabout’). Evelyn was wearing a cowboy hat, as she was feeling Mexican. Alf Rutter did the filming. Loved the last Kick-About…”



rutterandbennett.com / instagram.com/rutterandbennett


Jan Blake

“I did not know the work of Marie Menken so as often with the Kick- About, I have to do some research and to enter an unknown realm. It led me to wander round with my camera to my garden. It sent me back to childhood and watching the sparkle of sun through trees and fences near the cherry tree that supported my swing. I have tried to recreate this feeling by moving the camera in that lulling motion.’



janblake.co.uk


Charly Skilling

“After watching Marie Menken’s ‘Lights’, I found myself walking around muttering ‘lights, lights, lights, lights’ over and over in a sort of chant. As I did, I became very aware of the number of lights, large and small, significant and insignificant, that fill our modern lives.  This poem is my attempt to express that awareness.”



Graeme Daly

“These long exposure photographs were taken a while ago, situated in one of the turrets in our home and framed by its long theatrical curtains. One day I would like to try and make an animation out of these techniques and mimic Menken’s inspirational film more.”


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


And for our 35th run-around together, coming as it does in the final days of August, a single evocative word…


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


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


Chris Rutter & Evelyn Bennett

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


rutterandbennett.com / instagram.com/rutterandbennett


Emily Clarkson

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


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


Jan Blake

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


janblake.co.uk


Graeme Daly

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


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


Kerfe Roig

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




kblog.blog / methodtwomadness.wordpress.com


Francesca Maxwell

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


www.FBM.me.uk


Marion Raper

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




James Randall

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



Phill Hosking

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


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


Tom Beg

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



twitter.com/earthlystranger / vimeo.com/tombeg


Charly Skilling

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

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





Phil Gomm

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




Vanessa Clegg

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


vanessaclegg.co.uk


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




The Kick-About #32 ‘Low Dense’


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


Graeme Daly

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

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

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

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



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


Vanessa Clegg

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


vanessaclegg.co.uk


James Randall

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

*Congratulations, James!



Jan Blake

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

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


janblake.co.uk


Charly Skilling

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




Kevin Clarkson

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

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


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


Kerfe Roig

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



everywhere
falls apart
mind to eyes
expanding

falls apart
becomes its opposite
expanding
into stories

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

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

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

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


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

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



Francesca Maxwell

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


www.FBM.me.uk


Phil Cooper

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


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


Phil Gomm

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





Tom Beg

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


twitter.com/earthlystranger / vimeo.com/tombeg


Gary Thorne

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


linkedin.com/in/gary-thorne


Phill Hosking

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


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


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




The Kick-About #31 ‘Lotte Reiniger’


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


Tom Beg

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


twitter.com/earthlystranger / vimeo.com/tombeg


Phil Cooper

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

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


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


Graeme Daly

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



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


Kerfe Roig

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



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


kblog.blog / methodtwomadness.wordpress.com


Emily Clarkson

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



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


Marion Raper

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



Jan Blake

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



janblake.co.uk


Gary Thorne

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


linkedin.com/in/gary-thorne


James Randall

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



Phil Gomm

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


You can read a PDF version