The Kick-About #25 ‘The Age Of Aquarius’


With its associations with protest and freedom of expression, this week’s prompt, courtesy of Kerfe Roig, returns us somewhat to the untaming of our last Kick-About together, but just like everyone else, I suspect, I’ve had the song from Hair going around and around my brain these past two weeks!


Tom Beg

“I apologise in advance to any students of colour-theory who might be seeing these images. While it was made in the spirit of peace and love, it might in fact be the colour equivalent an atomic bomb. Really I just wanted to make the animated tye dye t-shirts while listening to the Broadway cast recording of Hair.”



twitter.com/earthlystranger / vimeo.com/tombeg


Judy Watson

“I did go briefly down a rabbit hole to look up the meaning of the expression in astrological terms. It’s complex but predictably vague and controversial. The Age of Aquarius may have begun in 2600 BCE, or may have begun in the 20th Century or may be yet to begin. Having grown out of what limited interest I had in astrology years ago, this was not a direction that inspired art. It did lead me to quite an interesting little reading session about hippies, beatniks and the New Age movement of the 1960s and 1970s, but the complexity of this material reminded me of why I was never very good at history in school and why I admire people who are good at history!

But visually, the culture of the ’60s and ’70s is interesting. In fact I already had a digital collage with a psychedelic flavour that I made in November last year after watching the progress of the US elections with horror and dread. I had a powerful craving for the dawn of a new era, and for women to play an important role in it.”



“In Australia, that thirst for a change of culture, and a redistribution of power is even stronger now. If you’re interested, journalist Leigh Sales talks about it here, or there’s a briefer version on her Instagram page here. But what the heck. I had to make something new just for this prompt. So I decided that peace, love and harmony were the go, but sticking with the a secondary theme of female solidarity and friendship. And here’s the dawning of the Age of Aquarius being celebrated in a small way between two friends. The moon is definitely in the Seventh House. Need you even ask?” 


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


Phil Gomm

“So this is what I learned during my research into the ‘age of Aquarius’ – that in addition to all the immediate water-based imagery that associates with it, some scholars of all things astrological identify electricity as one of the keenest indications of the Aquarian age. Originally I had film in mind as my response to the prompt, something rather doomy and cynical juxtaposing the optimism given to the age of Aquarius with the lived reality of recent events and the rise of populism in politics… but, while good and worthwhile possibly, it was also going nowhere visually! Instead, I wondered how I might bring the Aquarian motifs of electricity and water together in a suitably cosmic way – without blowing myself up in the process! So it was I returned to the site of the scrying mirror, that small body of water so fascinating to me in its blackness (but which also makes it quite smelly!), and cracked out a few techniques familiar to me from previous photographic adventures in other dark places. It is certainly the dawning of something going on here…”



James Randall

I love Hair – it was one of the last shows before covid that we saw that I really enjoyed – just a small production that ran for a few nights at the Sydney Opera House. Yep our poor youngsters will have the same old concerns but worse, I suppose. After a few painted kick-about responses I went back to the computer for some clean lines. I hope it feels like there is some energy in it – it started off feeling that way to me but it always amazes me how much time you spend on a computer to get an image off the ground.



Charly Skilling

“This constellation was identified as “The Water Carrier” in the records of the Babylonians, some 6000 years BCE, and has been recognised as such by civilisations ever since. Different ideologies have ascribed different myths, but the common feature throughout has been the urn pouring water from the heavens. Regardless of the meanings ascribed to the constellation, the constellation itself is real and eternal, and humanity has gazed upon it since the first humanoid turned its face to the stars and wondered.

It is about 27,500 years since our solar system last moved through this sector of the sky, and will remain within this sector for approximately 2,150 years. When thinking about these vast periods of time, it is tempting to take comfort in the fact, that whatever the ups and downs of our own little lives, there is a never-changing constancy about the world and its place in the universe. But perhaps the true meaning of the constellation of Aquarius is not that water will always be available, but that all life needs water to survive. Maybe “The Age of Aquarius” is the time to recognize if we continue to use water, consume water, play with water, waste water and pollute water, as we have done over the last couple of centuries, we may have witnessed the “Dawning of the Age of Aquarius”, but there may be no one much around to witness the twilight.”




Kerfe Roig

“When Phil asked me to choose this week’s Kick-About prompt, I thought immediately of The Age of Aquarius, because I’ve been turning over in my mind the hope that it might be real, that humanity can change. I always loved the music posters of the “Hair” era, and used them as inspiration for my neon colored paintings… Back when the musical “Hair” came out, some astrologers grumbled that it wasn’t really the Age of Aquarius yet.  But what did we care?  We were tired of the world as it was, ready for Peace, Love and Understanding. Well…maybe not. During 2020 there were rumblings once again online about the REAL Age of Aquarius finally showing up.  I was skeptical to say the least.It seems we had the Age of Aquarius skewed, not only in time.  Yes, it’s a total tearing down and rebuilding.  But it’s going to require hard work.  Taking a lot of drugs and wearing tie-dye and listening to songs about love won’t do it. Can we change our entire approach to living together, not only with each other, but with the earth, its creatures, its landscape, its elements?  We need to if we want to survive.”


chaotic stillness
watching from the whorled center
for new beginnings

all those lost patterns –
I collect them in my mind,
in new rotations

all impermanence –
no matter which way you turn
the path continues

giving myself hope
inside my dark wanderings–
a world of wonder


kblog.blog / methodtwomadness.wordpress.com


Graeme Daly

“Firstly, I was gobsmacked by the age of Aquarius song from the musical Hair. It left the hairs standing on my arms with the booming lead singer’s voice being absolutely phenomenal. If this show ever returns to live audiences I would love to see it! The “hippie” people of this era wanted to show their respect and love for the earth and focus on the world around them, while doing it as a group effort to show a sense of community and togetherness. Aquarius is an air sign, and as a fellow air sign myself, they are known to be creative, free spirited, and always seek clarity.

The symbol for Aquarius being the ‘water bearer’, who eternally gives life and spiritual food to the world, while also washing away the past and making room for a fresh start is usually depicted as a mighty figure pouring water from a vessel onto the earth. When seeing the image of the water bearer, I wanted to focus on a previous experience surrounding water that ignited the Pools film from the Eugen von Ransonnet-Villez prompt, which gave me more respect for the earth and the little wonders that happen sporadically, if you are open enough to find them.

These photos show a snapshot of a spectacle that was for my eyes only, where a trickling of snow was melting and forming a mirage of colours in a shallow lagoon of water. It was a joyous occasion to just sit and watch this natural occurrence, and with its dancing display, it allowed me to stop worrying about everything and what the future holds and just be here in this moment. I think experiences like that are important for grounding you and bringing you back to your present reality, where worry has no place, as the hippies in Hair embodied this physicality here and now by dancing and moving their bodies like water…”


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


Marion Raper

“I was very lucky to be ‘sweet sixteen at the tail end of the 60s. Having worked hard to get my exams, it was time to enjoy myself and ‘let the sunshine in’, so I started a job in London.  It was alive and buzzing!  I worked in a large open plan office and every day was such fun – more often than not I just managed to catch the last train home!  It was all parties, pubs and shopping, and frankly one of the best times of my life!   Everyone was so happy!  Perhaps it was due to the great music of the time or the wonderful crazy clothes. I still have my beautiful purple velvet kaftan.   Unfortunately, I never got to see Hair the Musical as it was always booked solid but how I enjoyed the dawning of the Age of Aquarius.”



Phil Cooper

When I read the prompt for this week’s Kick-About, my first port of call was that clip from the film Hair where the hippie kids are dancing in the park singing ‘let the sunshine in’. My research did go a bit deeper than watching 1960s musicals, into the realms of astrology and vernal equinoxes and suchlike, but I kept coming back to that catchy song. I was struck by how the song linked all the positive attributes of the new age of Aquarius to sunshine, relating feelings to the weather, as so many songs do. When the age of Aquarius does arrive, we’ll all be dancing under sunny skies, apparently. The film version looks very dated now, of course, and has a very American feel. If it’d been made in Britain it’d be less ‘let the sunshine in’ and more ‘take your washing in’. I’m not complaining, though, I really do like the gentle climate of the British Isles. It’s what helps make our landscapes and gardens so beautiful. It’s also become rather de rigueur to challenge such simple binaries as; sunny weather, good – rainy weather, bad. Nature writers seem to be falling over themselves in their enthusiasm to tell us about their new books where they did things like walk in the rain for a whole year, and how they found such experiences deeply revelatory and healing. Back in the 19th century, John Ruskin told us ‘there’s really no such things as bad weather, just different kinds of weather’. I do get it, I can enjoy rain, and storms, and snow, but given the choice, I’d rather be outside under a clear blue sky. I’ve made a little film about it for the Kick-About this week, splicing together two videos, taken exactly six months apart; one in high summer, one in midwinter. By making the film so binary, I hope it allows for the nuances to emerge and for this to generate more complex feelings about sun/rain, summer/winter, light/dark and life/death, ultimately, I suppose. Or maybe it just makes the sunny part of the film look all the more enticing and the winter part even more ‘ugh!’.

The soundtrack to the film is from a beautiful piece of music called Waterland (part IV) by The Rain Dogs. Check out their amazing work at the-rain-dogs.bandcamp.com

Ok, I’m looking out of the window as I write this and the sky is a delicate pale grey with a soft drizzle coming down; where are those hippie kids when you need them!?”



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


Vanessa Clegg

“This is my 1960s “Dolly Dress” – another treasure from a charity shop. It hangs on my wall as a reminder of all the good times and never fails to trigger a smile. Years ago. when working in Australia, friends at the studio invited me to a 60/70s party. Myself and another dressed accordingly. She was a dancer and had hoarded all original clothes from that ‘crossroad time’. We arrived clutching the soundtrack to “Hair” and more than ready to party, but sadly no one else had dressed up (chic black only), so we put on the music, revived the old moves, and soon were all swirling back to a time when change was the buzzword, freedom and fashion a shock, and art school the perfect place to explore this “New World”. May we all ‘ let the sun shine in’ when we gather once more to dance, drink and laugh with our friends….how fab will that be?!”


vanessaclegg.co.uk


Just a reminder then, that the Kick-About No.26 ‘52.1429’ is our anniversary edition to mark one year of shared creative endeavours. I think we’ve all earned a little break from fizzing fortnightly with new things to try and do, so I’m asking kick-abouters to get in touch and choose one of their own previous submissions for including in a ‘greatest hits’ edition. All you need do is point me at the piece of work you’d like me to include, but also send me a few lines on why you’ve chosen it; it might be because it represented some crazy creative detour into the unknown, or it might just be because you really really like it – and anything else you’d like to talk about too. I look forward to hearing from you in due course.



The Kick-About #24 ‘You Were Once Wild Here. Don’t Let Them Tame You’


Arguably, the wunderkammers gathered together by the likes of Ole Worm – our last prompt – represent pure expressions of human curiosity, untamed by such things as order, category, reason, or taxonomy, where the real and the imaginary are given equal footing. Now, with Isadora Duncan’s clarion call for free expression and non-conformity ringing in our hearts and minds, the kick-abouters this week are running wild and free…


Graeme Daly

“With this week’s prompt being “You were once wild here, don’t let them tame you” I instantly thought about being amongst the countryside of Ireland, and surrounded by flora and fauna. When I was younger, I was wild at heart; I climbed the highest trees, I made hideouts, I swam in rivers. The ground on top of hills surrounded by fairy trees was ground down by my cousins and myself, with our bikes fucked into the nearest ditch. We could be heard screaming with joy in this landscape playground that was all around us. We would cycle into town, put our money together and buy sweets and milkshakes, then cycle back – milkshake in hand and eat our feasts, supported by tree trunks and makeshift wooden slats.  I feel like I grew up on the precipice of this wild and free way of life, before it started to die out with the younger generation concentrating more on the protective shield of screens. I still feel like I have that sense of adventure within me, and when it is my birthday this year I am buying myself a bike to find some places that remind me of that time, I might not make hideouts like I used too, but I will be taking photos of places that bring me back to that untamed nature.

Pictured here are photos from the forest taken this past Christmas, where we ran amok often. I wanted the photos to feel nostalgic, with a rustic warmness to them and an influx of colour, but also show that we adventured to places like this in all seasons and all weather, where we were free and wild with not a care in the world. We never let anyone tame us and that’s how it should be.”


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


Judy Watson

Cats in Australia are a problem. They’re often mistreated, often dumped, and the feral population is gigantic, doing enormous damage to our wildlife. Click here to find out more. My lovely foster cat arrived painfully thin, with 4 bouncing babies. All of them have now been successfully adopted. Hooray! Go well little ones…”



Technically these guys once were wild, having been picked up as strays. But at the same time, they were affectionate and tame. So they are not really my response to this prompt. My response was, I think, a little influenced by a far superior cat painting, by William Kentridge that is on the wall of my studio. But really it was just a fun play about with ink. Fairly large scale on cartridge. I swished up a few garden plants for him to prowl in. Then combined the two in Photoshop. I altered his head and paws a bit to bring him into a more domestic cat proportion, and out of the original, more expressionist type. He represents the suburban animal who is both wild and tame at the same time. Every time he goes outside, he becomes his own heritage, a wild animal. Our gardens are his hunting ground. It is a fascinating thing, albeit devastating to our wildlife.”


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


Phil Cooper

“This was such a gift of a prompt! How all our lives have been tamed by this pandemic over the last year and how we yearn to escape it, the masks, the travel bans, the social distancing, the pub closures, etc. How do you sustain your ‘wildness’ when you have to stay indoors so much? I’ve spoken to lots of friends over the last year who used to spend their spare time climbing mountains, or skiing, or travelling to far flung places. Now they do jigsaw puzzles, or make sourdough. On paper it’s all rather tragic, but as long as we’re holding on to our wild selves inside it doesn’t matter I suppose. If we keep the wild candle burning somewhere in a little sacred space in our souls it can burn brightly once again when the restrictions are eased. And how we’ll appreciate it then!

I made a sort of ‘green man’ mask last year before the lock-down kicked in. It hangs on the wall of our living room and I think of it as a kind of talisman, reminding me of better days to come when I can travel more freely and get out into the wild places more. I hope it’s soon though!”


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


Kerfe Roig

“I had a totally different idea of what I wanted to do with this, involving collage, but the photos of Duncan dancing made me want to try to first capture the movement in drawings. I ended up pulling out pastels I hadn’t used in probably 40 years that happened to be in my watercolor bin. There’s a reason Degas used pastels for his dancers–but having no fixative, there’s also a reason I haven’t used them in awhile. Right now they are hanging on the wall where they won’t smear until I get something to spray them with. I still have the collage idea filed away for some future project…”


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“Here is Isadora in one of her famous dance poses around the year 1900. She must have been an amazing lady, with her love of free and natural movements, and seeking the divine expression of the human spirit. I suppose she was the original ‘wild child’ and was always deemed to be one of those stars to come to an inevitable tragic ending. There have been so many other women since who have passed away, never reaching their full potential – Janice Joplin, Sharon Tate, Grace Kelly, Amy Winehouse, Marilyn Monroe, Whitney Houston, Princess Diana, to name but a few. We shall never know what heights they would have reached and whether they would have ever been ‘tamed’, so to speak, but I doubt it. However, I bet Isadora would have loved Rock and Roll!”



Jan Blake

“What an extraordinary woman Isadora Duncan was at that time, and pre-dating Diaghalev! That surprised me. For me she fits in with the photographs of fairies, and the kind of dance to me that is very ethereal, rather than wild. Wild, however, for that time of restricted movements due to tight bound bodies in corsets. Wildness for me is in the actions of natural forces on our environment that leave their traces of upheaval and transformation in the landscape and seascapes that surround us. Nature cannot be tamed by man or woman.

The first image is a combination of two strips of photographs I took in France a long time ago: every September on that South West coast of France there is a strange storm that transforms the landscape over night. I did not know about it at the time. The storm was brewing and all day my partner and I had been sniping at one another. The sky changed to an inky mauve and I started running towards the beach about a mile away. The sea was jade green… still as a pond… the sky deep purple… the boats like paper cut-outs… so, so still and then the rumble, flash, and torrential rain. I screamed and screamed, and the beach was filling up with people who also screamed. It was the most remarkable storm I have ever witnessed. The sea was like a wild beast. Tsunamis must be the most terrifying though; this was just a flash in the pan in comparison. The next morning the beach was unrecognisable. All the dunes had changed shape. The pools of water held mysterious images. The fences were broken and disordered once again.

So this photo reminded me of that. I looked at it and saw a corset in place of the fencing, something that kept the wildness of the sea in check, but easily broken.”


janblake.co.uk


Charly Skilling

Once upon a time, there was a tribe called the Rondels. The Rondels believed in discipline and harmony and their dance was ballet and, for them, Ballet was Dance. For many, many years, the Rondels lived and worked and strived to perfect the Ballet, always correcting, and polishing, and correcting some more to ensure the Ballet met the rigorous standards of their forefathers who had laid down the Rules.

Then one day, out of nowhere it seemed, there was an Other amongst them. This Other was not a Rondel, the shape was very odd. This Other did not blend in or harmonise with the tribe, but was a vivid contrast, clashing and startling in her variety. This Other did not do Ballet, but moved in strange and unexpected ways, twisting, flowing, swirling in a Dance all her own.

Many of the Rondels were shocked by this Other. “That’s all wrong” they said. “That’s not Dance. She’s not abiding by the Rules. It’s immoral!”

Other Rondels said “It’s just Showing Off. Take no notice. It will soon get bored and go away.”

But a few said ” It may not be Ballet, but those colours are beautiful. Perhaps we could try something a little different with our colours?”

And a couple of Rondels whispered “That shape is so exciting – could we not incorporate it into the Dance in some way?”

And one little Rondel, braver than the rest, went right up to the Other and said “Please, what are you? What do we call you?”

And the Other replied “I am a Dancer, and my name is Isadora.”

Then the little Rondel summoned up all her courage and said “Please, Isadora, will you teach me to dance like you?”

“But aren’t you learning to be a Ballet Dancer?”

“Why can’t I do both?”

And Isadora thought for a moment and then laughed.

“No reason,” she said. “No reason at all.”

And although Isadora was not with the Rondels for long, they learnt much from her, and even after Isadora had gone, the Rondels adopted and adapted and tried out new things. It didn’t always work and some Rondels could never bring themselves to accept these innovations as being equal to the Ballet. But many did, and years and years later, little glimpses of Isadora can be seen again and again, anywhere where there is Dance.




James Randall

“Young Once: if only the ravages of time could be kept at bay! This is a pick of my my high school mate Mark in his daring red jumpsuit in front of his very yellow Holden Gemini at a very country pub early 80s. I came across the ultra-contrasty original pic while packing stuff away and instantly new Mark would be my wild subject!”



Vanessa Clegg

“My father kept budgerigars and tropical fish and, as children, we marvelled at their beauty and difference… but see these creatures in their natural habitat, and their captivity becomes a cramped, needless and extremely sad practice. In Rose Tremain’s book “ Restoration” Merivel is given an “Indian Nightingale” which has “travelled the seas”, and is thus seen as both strange and exotic. Later it is shown to be a common blackbird… He has been duped! But I wonder? Perhaps the strange and exotic is simply a state of mind transforming the everyday into something wondrous… how we “see” the world. We can create our own cages so, to me the “wild” is the imagination, and that’s the road to freedom!” Crayon on Fabriano. 22” X 22”


vanessaclegg.co.uk


Phil Gomm

“I properly disappeared into this prompt, another complete world building around it and absorbing me completely. I kept discovering all these pockets of rage and sadness as I wrote this, not least because I’ve been reading a lot about so-called “conversion therapies” and ‘cures for homosexuality’, and not least because a fair ratio of ‘Glorious’ is based on the life and times of an individual I know well, a man who guards his freedoms fiercely, with no f**ks given.”


You’ll find an online PDF version here.


Thanks to regular blogger, scribe and kick-abouter, Kerfe Roig, we have our new prompt… another great opportunity to let our ‘Hair’ down? In addition, a heads-up re. The Kick-About No.26. The 26th edition means we’ve been running around in each other’s company for 52 weeks – a year of creativity under strange constraints. I’d like to mark the occasion by making the 26th edition a celebration of all that’s gone before, so I’ll be asking kick-abouters to choose their own favourite submission so far, and offer up a few words as to why, and maybe something too about the importance of creating and making. I look forward to hearing from you in due course. Something to think about, but until then, ‘Let the sunshine in.’



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 #19 Art Forms In Nature – Ernst Haeckel


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


Simon Holland

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


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


Charly Skilling

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




James Randall

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



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


Tom Beg

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


twitter.com/earthlystranger / vimeo.com/tombeg


Vanessa Clegg

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


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

vanessaclegg.co.uk


Phil Cooper

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

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

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


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


Marion Raper

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

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



Jan Blake

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

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

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

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


janblake.co.uk


Graeme Daly

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


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


Phil Gomm

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


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



Phill Hosking

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


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


Kerfe Roig

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


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


kblog.blog / methodtwomadness.wordpress.com


Gary Thorne

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


linkedin.com/in/gary-thorne


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

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

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



The Kick-About #18 Still Life With Blue Vase, Fernand Leger (1951)

After the heightened atmosphere of our last kick-about, and the rich food of the festive season now largely behind us, Leger’s simpler fare was a welcome offering. Leger’s still life was brought to the attention of the Kick-Abouters by artist, Gary Thorne; well, Leger can keep his roast beef. I’d rather get my hands on all those delicious-looking prawns and creamy avocados…


Gary Thorne

“With the holiday now firmly in the past, it seems fitting to celebrate the sacrifice which lead to so much decent feasting. Leger’s prompt of colour and the ordinary stirred up this reflective composition, which in part celebrates a Polish Christmas on the 23rd with its attention to seafood. Although a difficult year for many, it ends with emphasis on a simple pleasure most commonly enjoyed as a shared experience – healthy eating! Happy new year to our fab’ host and to all enjoying Kick-About.”  Oil on prepared paper 65cm x 50cm.   


linkedin.com/in/gary-thorne


Tom Beg

“Japan loves food and Japan loves paper, so it makes sense that Japan also loves pictures of food printed on paper. About this time of year a ridiculous amount of two-dimensional sushi gets stuffed into my letterbox. Usually it ends up in the recycling pile along with the rest of the paper, but given the pop-art and food theme of this Kick-About, it struck that these could be made into some kind of surreal, consumer advertisement induced pop nightmare.”


twitter.com/earthlystranger / vimeo.com/tombeg


James Randall

“So Leger, cubism, multiple points of view/time – a series of photos can cover that – and as it was time to pick the final harvest from our little tree, please see the cooking of a peach cake images...”


Peach Cake


Or was this a still life exercise? – covered by ‘what didn’t fit into the dishwasher‘…”


What Didn’t Fit In The Dishwasher


… and then a totally self indulgent something – peaches – because we did have a few summery days until the rains came. Virtual hugs to all the kick-abouters.”


‘Peaches’


Vanessa Clegg

“For someone whose inner colour chart is extremely limited to dark, this was an interesting challenge, and so good for me, which is why I love being part of kick about! Anyway I had a look at Leger’s work and the thing that leapt out was his use of primaries with black and white delineation, so here’s my interpretation using still life (but no roast beef!) and making the link through colour. Good wishes to everyone for better times in 2021.”


vanessaclegg.co.uk


Graeme Daly

“This kick-about felt very homely; an abundance of food reminds me of home, so I painted a kitchen illustration of a section of our kitchen, mimicking the colour and skewed perspective of Leger’s piece.”



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


Jan Blake

“I remember, as a child, hauling extra quantities of clementines up the road in my mother’s basket on wheels. We never seemed to have enough for the 14 aunts and uncles that filled our Christmas dinner table. The peels were scattered over the table in profusion. I think the reason for so many was that when my parents were young their only present had been an orange – such a scarce and valued piece that it was the centre of their Christmases. So for them, Christmas needed to be full to the brim with orange. My orange theme then reminded me of Mexico and the orange abundance of marigolds strewn everywhere to celebrate, not only the Day of the Dead, but also the coming of Christmas just round the corner. So the last few dabblings in this idea are more impressionistic with a nod to Howard Hodgkin for these oranges escaping my frames in gay abandon. Happy 2021.”


janblake.co.uk


Phil Gomm

“What I enjoyed about this week’s prompt was the way Leger’s painting encouraged immediacy and directness – a sort of ‘first pass, job done’ flourish that meant lingering too long on any subject wasn’t quite the ticket. I also appreciated a chance to occupy a more domestic space – nothing metaphysical to see here, ladies and gents! Our kitchen is stuffed full of house plants – I look at them many times a day, every day. They are as part of the fixtures and fittings of our kitchen as the cutlery and plates. With this in mind, I wanted to make them the subject of my offering this week, and also to try a new technique first brought to my attention by fellow kick-abouter, Charly Skilling – drawing onto ceramic tiles with Sharpie markers, and then spritzing the drawings with alcohol to encourage them to bleed and soften to pleasingly impressionist effect. To be honest, I worked up these studies super-fast and without any fuss or forethought and just really enjoyed what the process itself was giving back. Given the knock-about informality of the technique, it amused me to dial-up the formality with some tasteful frames, imagining these ill-disciplined little drawings on the walls of some tasteful interior.”


‘Oxalis triangularis’

‘Pilea peperomioides’

‘Gasteria pillansii’


“… always so patient with the various creative undertakings overtaking our small seaside house, my husband was keen to have a go at some ‘sharpies + alcohol’ excitement himself… Presenting ‘Paul’s cactus’…”



Phil Cooper

“My husband was clearing out a kitchen shelf the other day when he came across a carefully wrapped tea service that he’d inherited from his grandmother and which we’d almost forgotten about. We’ve no idea when it was made, probably 1940s, but we really love it, even though we never use it. Jan’s grandmother was a lovely and very stylish lady who always looked amazing, right into her 90s. We got on well and she’d make me laugh when, after I’d said something like ‘Guten Morgen’ , she’d exclaim ‘oh Philip, you speak such beautiful German’. I hardly speak any German, but bless her! What an amazing generation they were, we miss her very much. I thought I’d paint the milk jug from the service as it fits the prompt this week. I hardly ever paint still lifes but I enjoyed doing this one; maybe I’ll try a few more!” 


‘Oma’s Milk Jug’

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


Kerfe Roig

My first impression of this still life was gluttony – and I originally planned a collage with lots of food. but when I started pulling images out of my collage box, as is so often the case, the composition decided to go somewhere else. Fish? Butterflies? Snakes? Blame it on the vase goddess.”


kblog.blog / methodtwomadness.wordpress.com


Charly Skilling

“I have never attempted a still life before, so this is all new territory for me.  I used Sharpies, but instead of ceramic tiles, I used a bleedproof marked paper, which is semi translucent.  Alcohol spray to blend and soften, and the  paper was then taped to a window, before photographing.”


Still Life With Blue Casserole


Francesca Maxwell

“Here I have made a collage for the new kick-about, “The End of the Meal”. In memory of the Christmas meals at my grandparent house, usually on Christmas Eve, a rather grand affair ending with coffee, brandy, fruit and walnuts and, for us children, homemade ice cream. They had a beautiful dining room with a huge table, a creaking but beautifully wax-polished, sweet smelling, wooden floor and several still life paintings on three of the walls, rather brownish, in heavily carved frames. Fortunately, on the largest wall, there was a wonderful, antique Japanese silk painted screen in three panels, which we all loved the best, and most likely the beginning of my love affair with eastern art. Since then I have drawn and painted and etched many many kinds of still-life, a term which I prefer to the Italian Natura Morta, and learn to love it. In fact, as part of my training at the studio of my Maestro, I drew, then painted and then etched a still life, the same one, nearly every day for an entire year. Clearly not a roast-beef. Despite that, or maybe because of that, still-life became my comfort zone, a quiet place without the challenges of painting people or perspective or busy compositions. For this one I had fun. I used “left-overs” paintings just placed down, ready to be cleared up at any moment.”


www.FBM.me.uk


Marion Raper

“Just before the latest lockdown I was mooching around our new local second-hand bookshop and I came across a book entitled ‘A Wartime Christmas’. It was a compilation of the memories of various people from all parts of Britain who related how they spent the festive season during WWII and had chapters with headings such as’ Gert and Daisy’s cheap Christmas pud ‘ and ‘They tied a label on my coat ‘or even ‘Beethoven ‘s Fifth with accompanying sirens!’ These are the type of stories I find absolutely intriguing and needless to say I had to buy the book. Although Fernand Leger’s still life with roosbeef was done in 1951, his work still has the austere look of the war years about it, and in fact rationing didn’t finish until 1954. On the front cover of my Wartime Christmas book is a wonderful photo of four cheeky little boys in hand knitted jumpers and paper party hats. They were in fact two sets of orphaned twins, aged 3 and 6, whose father was lost on the torpedoed aircraft carrier, Courageous, and they were destined for Dr Barnardos Home. I thought they would be lovely to sketch and perhaps they would prefer the beef to be minced up and served as spaghetti Bolognese – or perhaps during the war it would have been Cottage Pie?”



Phill Hosking

“This prompt was a joy for me, because one of my main staples as an artist is still life. The main piece here is a painting of a rather neglected Dendrobium orchid and three bottles, painted over the course of one weekend. The other pieces are more simple recent studies. There’s something unbelievably satisfying about rolling up your sleeves, putting together some simple objects and seeing what can do with the paint, in this case, oils. I always learn something from any still life, predominantly about colour, and how our eyes trick us into assuming we know what we’re looking at. You mix for minutes and then you put it on the canvas or board and you’re miles out. Slowly I’ve tuned my eye to sideline these tricks of the eye. On this orchid piece, I’ve started the process of using the objects as a compositional tool on the surface of the board, making sure that I treat the painting as an object in its own right. I’m currently working towards a joint show with @jordanbucker in March this year at The Fishslab Gallery, Whitstable. I’ve made characteristically varied paintings for this show, but still life and observational work is right at the heart of it. Show opens on the 9th of March all going well, we’ll see.”



Phill at work on Dendrobium orchid and three bottles in his studio, Whitstable, January 2021


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


Judy Watson

“I’m running late again, for this Kick-about, and I missed the Christmas one. So I have just whizzed down to my supremely messy studio (in need of a good clear out before work commences next week) and painted a few quick Christmas dinner themed sketches inspired by Leger’s perfect little still life. I rarely do a still life. For me, The Things are all about the people that use them, so I became lost in some invented people and what their moods and relationships might be. In my final image, it was interesting to find, despite the small crowd of people in the central part of the drawing, the subject was really the man at extreme left and the slightly harassed mother at the extreme right. It became all about their isolation within the crowd.”


The Lap-Sitter

The Kick

The Feast

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


Ernst Haeckel’s bizarre and beautiful Art Forms In Nature is our new jumping off point for our continuing adventures in art, craft, photography, film and creative writing. Have fun … and wishing you all a very happy new year!



The Kick-About #14 ‘Boogie Doodle’


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


Jan Blake

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

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

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


janblake.co.uk


Marion Raper

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



Emily Clarkson

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


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


Charly Skilling

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



Phil Gomm

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



One of the Zoom doodles in its original habitat!



Phil Cooper

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



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


Graeme Daly

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


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


Kerfe Roig

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



swing stroll slide

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


kblog.blog / methodtwomadness.wordpress.com


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

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

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



The Kick-About #11 ‘Trappist 1e’


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

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


Emily Clarkson

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


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


Judy Watson

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


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


Graeme Daly

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


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


Marion Raper

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


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



Marcy Erb

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



marcyerb.com


Phil Gomm & Deanna Crisbacher

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


Boughton Scrub, September, Phil Gomm

deannacrisbacher.com


James Randall

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



Kerfe Roig

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



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

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

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

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


kblog.blog / methodtwomadness.wordpress.com


Vanessa Clegg

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

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

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



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

Toned & hand printed photograph


Charly Skilling

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

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

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



Maxine Chester

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


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


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