Glove #1 (2022)


When it comes to meeting the fortnightly creative challenge of The Kick-About, needs must, and so it was I fabricated my own much down-sized ‘soundsuit’ from a single yellow glove, wooden buttons, glass eye pieces and strands of colourful wool. I was drawn to some of the goofier, ‘Jim Henson-esque’ elements of some of Nick Cave’s soundsuits (the prompt for our latest Kick-About) – hence the Muppet-y character of my resulting hand-puppet. Turns out, however, even the goofiest glove puppet can throw some shapes on the dancefloor!




The Kick-About #64 ‘Soundsuits’


If our last Kick-About together was characterised by muted tones and pensive atmospheres, this latest showcase of new works made in a short time is a celebration of colour, movement, costume and dynamism – and how could it not be, inspired as we have been by the artist Nick Cave and his sumptuous soundsuits? In other news, a warm welcome to artist and animator, Claire-Beth Gibson, who joins us this week for her inaugural run-about.


Claire-Beth Gibson

“The sound suit with the spinning tops made me think of the clackety-clackety noise of the whirly spinner I had as a kid.  It smelled of old metal and played a strange song. Starting out with so much enthusiasm, it would spin gloriously for a short while and then gradually teeter more and more as it slowed down, before a final wobble into its death fall, spinning on its side and rolling away. Of course, I wanted it to spin the first high energy part longer than it did. Sometimes I would just keep it in my hands, continuously whirring it, keeping that bit alive for as long as I could. This little animation is some of that moment.”


@claire_beth_claire / clairebethclaire.com / vimeo.com/clairebethclaire


Graeme Daly

“I knew that I wanted to make a film, I wanted it to be loud, aggressive and primal and I wanted to use some sort of fabric or elements that could make up the intricate soundsuits of Nick Cave’s creations. I decided to chuck a bag of shiny sequins of various shapes into a large wok and film it! Bringing down the shutter speed of my camera and aperture while defocusing so that the tacky butterflies, hearts and stars become nothing but dancing spherical orbs lit ablaze with a tiny but powerful led light. It was one of those moments where everything fell into place so nicely. The edit was a dream and thoroughly enjoyable.”


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


Gary Thorne

There is something really satisfying about Autumn after such a great summer, so much so I’ve been reluctant to cut back the fading twisting Crocosmia (Lucifer) and towering Buddleja – until now that is!! Flamboyant Soundsuits triggered celebrating the summer die-back so, headfirst into weaving I went with sock yarn, a cardboard frame, secateurs and the garden table in glorious sunshine, and two pleasurable days passed.”

       



linkedin.com/in/gary-thorne


Jan Blake

“I watched a lot on Youtube of the videos made of Nick Cave’s work and was totally drawn into them. His whirling Dervishes of colourful movement reminded me of my view that is a constant in my life. Beyond my windows, I look out onto the city of Bristol masked by this sea of greenery. This last few days those trees and plants have been whisked into whirling dervishes by the wind. I became intrigued by the differences of each tree or plant.  They are all rooted to the spot yet the rhythms of their movement are changed by their shape and weight. Here are three small videos with their own unique surrounding music due to wind or traffic. More study needed to grasp another way of learning from them to use in my work.”


janblake.co.uk


Vanessa Clegg

“I intended this to be a “Barbie/Cindy-lolly” but the felt tip doesn’t show enough on the lolly bit so I’ve given her the chance to be the first girl to enter space single handed!.. Enjoyed playing with all the £1 shop had to offer and go wild with colour… what more could I ask?”


vanessaclegg.co.uk


Charly Skilling

“Costumes, dancing, drums – what’s not to love about  Nick Cave’s sound suits? The freedom of self-expression that comes with anonymity is powerful and liberating. and I had great fun with this Kick-About. As you may have  guessed, the costume is mostly crochet and mostly formed by recycling elements of earlier KAs. I hope these images will bring a smile to your lips, even as you shake your head in bewilderment!”




Kerfe Roig

“I hope we will dream together”
Nick Cave

“In 2014, at the very beginning of blogging, I did a post with a dancer in my interpretation of one of Nick Cave’s soundsuits.  I always wanted to do more of them, so I was glad to see this prompt.  The original one is the star dancer.  I hoped to do three new ones, but only managed two.  The flower dancer was the first one I did: it’s small, about the same size as the star dancer.  Then I decided to work on a large one – a cosmic dancer.  It was a challenge to get the look I wanted. I tried a lot of different papers for the circles, but finally found origami paper came closest to what I was imagining.  The background of stars was always a given.  Perhaps I’ll get to one of those toy dancers in the future…”


who am I?
who can I become?
patterned out
side and in–
shapeshifting transformation–
full, entire, complete


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“I am not sure when I am likely to use or wear a soundsuit so I decided to make something which is more on the decorative side.   Nick Cave uses recycled objects to make his suits – well, my stylised flowers are made from a bag of old ties given to me by a friend, some twisty wire and an old glass bottle.  The flowers tend to sway gently when there is a slight breeze and I was intending to add some old buttons strung together to make a jangling noise.  However, they were just too heavy and didn’t look right, so I decided to go for plan B, and used some old dangly earrings instead.”



Phil Gomm

“Needs must and all that, so I fabricated my own much down-sized ‘soundsuit’ from a single yellow glove, wooden buttons, glass eye pieces and strands of colourful wool. I was drawn to some of the goofier, ‘Jim Henson-esque’ elements of some of Cave’s soundsuits – hence the Muppet-y character of my resulting hand-puppet. Turns out, however, even the goofiest glove puppet can throw some shapes on the dancefloor!”



philgomm.com


James Randall

“You have to love Nick Cave’s vibrant animated costumes that make you want to join in. Dance, along with singing and art tends to be a lost activity as you get older. I remember wonderful all-nighters at Sydney Mardi Gras parties vividly. This is my attempt to put down some of the movement. I should have made an animation or danced around – avoiding the computer and put down marks by hand, but the attached, with variation, came out from the computer.”



With a small nod to the current season, a mildly spooksome prompt for our next creative run-about: the Père Lachaise Cemetery in Paris, which, with more than 3.5 million visitors annually, is the most visited necropolis in the world… 



After Hammershøi #1 (2022)


Recently, I’ve been spending a bit of time in an old seaside department store, home to The Margate School, an art school and studio space for artists and makers. I’ve had some official duties to enact there, but found some time to roam about the building with my camera. In common with Vilhelm Hammershøi’s paintings – the prompt for The Kick-About No. 63 – there is a rich and wonderful stillness about some of the less-inhabited rooms and spaces in this big, old building, which boasts some big, old wonderful windows too.



The Kick-About #63 ‘Vilhelm Hammershøi’


Our last Kick-About together was inspired by continual movement and the accompanying changes of scale and perspective. This week’s showcase of new works made in a short time is, by contrast, a mediation on silence and stillness, as we explore together the hushed, pensive environs that feature in the paintings of Vilhelm Hammershøi.


Graeme Daly

“Hammershøi’s paintings feel so breathy and poetic, like you are peeking into the lives of the mysterious figures. I can’t help but think of a Victorian doll house with all its little furniture placed exactly as the collector envisions. I was initially inspired by the gorgeous light throughout Hammershøi’s paintings and awoke at the crack of dawn to capture the sun as it pooled in through the shutters and windows where the light licked the walls, doors and wooden furniture. I decided at the last minute to perch myself in areas that could resemble the people in Hammershøi’s paintings and dressed myself in a darker colour palette to match. I edited out all the ugly stuff that could resemble a modern rented house in London, including cracks and fire exit signs. Our house is very old and shows a lot of wear and tear so removing those elements was exciting to get a glimpse of probably how it once was” 


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


James Randall

Hammershøi’s images can be empty and silent, but to me they overflow with emotion. Recently I lost someone very dear and, during their final days, I took a few short pieces of iPhone video of stuff around me while time passed by. In response to the prompt I added some animation and sound. The final image was taken at a nearby river – there were no cockatoos around me but the sound of flocks of them carried from far down the river to me, speaking of the greatness of nature and the precious planet we seem to be incapable of leaving to its perfect and self sustaining self.



Kerfe Roig

As so often happens, this started out as something else, but I think in the end it works well for this prompt. I wanted to do a house.  I started with a box, collaging the inside to be a dreamlike claustrophobic maze of doors and windows.  This came out very much like I imagined it.  The exterior I’m still not sure about.  Is it four alternate universes, four nightmares?  I think I need to add some text to clarify (or perhaps, confuse).  So, a work in progress.


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“I love the serene  and subdued art of Vilhelm Hammershøi.  Unfortunately, this is way out of my comfort zone and I have some difficulty with the quieter colour shades and tones. However, I decided to attempt an outside view with dappled sunlight scattered across a wooden panelled house of the sort you might find in Scandinavia.  With recent sad and solemn events I found creating this watercolour had a strange calming effect  – I only wish I could have done it justice.” 



Phil Cooper

“The silvery North-European light I’m so familiar with is captured beautifully in Vilhelm Hammershøi’s paintings. I’ve been living in Berlin for the the past three years, not very far from where he created many of his delicate, luminous canvases. I love his explorations in capturing muted light, and the pared-down domesticity of his quiet interiors. They are a little too quiet for me; my home looks nothing like this; we’ve painted our walls in dark, rich colours, every surface covered in a combination of knick-knacks, plants and the mundane detritus of modern-day living. Hammershøi often used his wife as a model in his pictures, but the reflective reserve of the woman appearing in his orderly rooms is a million miles from my husband lounging around in his underpants, eating crisps and leaving crumbs all over the sofa. So my contribution this week is a sort of anti-Hammershøi. I took some photos of my husband, Jan, one morning during a heatwave this summer. We’d closed the curtains in the living room to try and keep out the heat and the space turned into a sort of exotic underwater cave, made even more mysterious by the clouds of vape-smoke Jan was breathing into the thin shafts of molten light seeping in through chinks in the curtains. I loved our living room during that period, but now, with autumn approaching, the light is turning thinner and more brittle, rather more like a Hammershoi painting – although the clutter and the under-dressed husband are still very present.”


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


Gary Thorne

“Stage designers jumped on the bandwagon promoting V.H.’s interiors, with some going quite big and beyond the need of the play. My inspiration credits film director Thomas Stuber, in particular his film IN THE AISLES, a most moving moody work. Making use of ‘crop’ and ‘effects’ I’ve tried complimenting the scene (25 minutes in from the start) where actor Franz Rogowski is very much alone, sat very still at his simple bed-sit desk, deep in thought. It’s a moment of great insight to a complex character. Rogowski has only to slightly shift his body knowing its plenty-enough to tell an in-depth narrative. “


linkedin.com/in/gary-thorne


Phil Gomm

“Recently, I’ve been spending a bit of time in an old seaside department store, home to The Margate School, an art school and studio space for artists and makers. I’ve had some official duties to enact there, but found some time to roam about the building with my camera. In common with Hammershøi’s paintings there is a rich and wonderful stillness about some of the less-inhabited rooms and spaces in this big, old building, which boasts some big, old wonderful windows too.”


philgomm.com


Charly Skilling

“All I can say is these paintings made me think of moving house.” 



Vanessa Clegg

“What I’ve always admired about Hammershøi is his control both in the colour palette and subject matter. That cool northern light casting sharp cut out shapes on a wooden floor… a soft curtain lifting in  a cool breeze… sometimes just the empty room, sometimes the back of his wife… all echoing Vermeer in its quiet focus on the domestic…the silence is palpable.”


vanessaclegg.co.uk


And from the soundlessness and muted colour palette of Vilhelm Hammershøi, let’s hear it for artist Nick Cave and his flamboyant soundsuits – our next Kick-About prompt.