The Kick-About #52 ‘104.286’


Welcome to this anniversary edition of The Kick-About, marking two years of creative activity undertaken by an international community of artists… which, when you put it like that sounds very impressive indeed! While those of us who participate in these fortnightly challenges might not regard ourselves as grandly as all that, this is my opportunity to thank everyone for their continuing creativity and companionship over this last year. I also want to reflect on the very real and demonstrable benefits of ‘kicking about’ together: yes, it’s another thing we have to think about, and yes, things don’t always run smoothly or go to plan, but ‘making work’ is always a magical act, and life-affirming too. Thanks again to everyone in the KA community for your boundless imagination and sticking power. Look at what we did!


Tom Beg

“What I found the most gratifying about The Kick-About this year was that, for the first time in ages for me personally, it felt like I could take any small idea that I had and bring it to some form of a conclusion without feeling like there was a whole load of mental and skill barriers in the way.

One of the most satisfying projects out of all the ones I produced was the animated short film inspired by Marie Menken for The Kick-About #34. After a very long time of not really making any moving image it felt quite rewarding to just let go and make something with the same kind of ‘just do it and see what happens’ attitude that always felt so inspiring to me as a creative, but perhaps, over the years, got lost in the shuffle of life and other such boring things! These days, just producing work and art is anything but boring for me, so I’m looking forward to seeing what else might become a makeshift goalpost in the park with all the other fellow Kick-Abouters in the future.”


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


Kevin Clarkson

“I had not heard of Brian Rutenberg (Kick-About No. 32) and the first impression was ‘Wow! Very powerful!’ So I spent quite a bit of time ‘deconstructing’ his technique. The apparent abstract nature is, of course, in reality highly stylised landscapes. If you put aside the idiosyncratic drawing style they are quite simple compositions. The cleverness for me is the use of colour; he has substituted primary or secondary colours for tone on most of the pieces, enhancing the abstract qualities. The texture and randomness is the product of palette knife work – that said, given the size of the canvases, it was more likely a large trowel!  A lot of my work is marine in subject, so for the first piece I took an image of reflections on water and upped the colour values and worked largely with a palette knife. I think you can still just about make out it is meant to be liquid. For the other piece, I chose a lake surrounded by trees and threw away the tonal values, replacing them with primary colour. I failed to match the stylisation of Rutenberg, but I think they are just about going in the right direction.”


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


Chris Rutter & Evelyn Bennett

“We really enjoyed doing the Marie Menken’s ‘Lights’ one (Kick-About No. 34). It was great to use so many media – video, painting, music – in one short, improvised response.”


rutterandbennett.com / instagram.com/rutterandbennett


Judy Watson

“The prompt could hardly have been more suited to me and my natural inclinations. It’s inky and leafy and Australian. What strikes me most is the combination of the loosest of ink splatters with far more careful and detailed patterning. I was going to explore some inkiness yesterday (Yep! Last minute again!) to see where an observation of Mungkuri’s work (Kick-About No.37) might take me, especially with regard to the use of white ink patterning over the top of the looser ink layers. But before I could begin something happened… Our bees swarmed!  Later, I had a bit of a go at my inky exploration of Peter Mungkuri’s plant drawings, but my mind was full of bees. And joy. So it became an illustration of Hugo and me, arms uplifted to the swarming bees.”


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


Marion Raper

For the Kick-About No. 41 ‘La Ville’ ~ “I used one of my daughter’s photos of an event when Lady Gaga walked down the red carpet, which I firstly painted in watercolour and then recreated it in the style of ?? (You can see why I nearly failed my Art O’ level!) Anyway, I enjoyed creating art in this way and using such zingy colours!”



Colin Bean

From The Kick-About No. 51 “Print them out and colour in your very own folk art postcards. I used google to translate the English titles into Ukrainian, so apologies for any grammatical errors.”



Emily Clarkson

“Of the prompts I participated in, I think my personal favourite was Kick-About Number 31, Lotte Reiniger. The traditional form of silhouettes and stop-frame animation was more hands-on than my other prompt responses. Less abstracted. And less rooted in technology, which was an invigorating change.

Cutting things out of paper for craft projects is something I’d been doing since I was little, much like Lotte did, so I ran with the nostalgia. Plus, the rudimentary camera setup resulted in an animation with some wonky charm that I quite like!”


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Phil Cooper

“For the second year anniversary post I’ve chosen a little film I made for Kick-About #28. The prompt that week was the garden created by Derek Jarman on the shingle spit of Dungeness. Derek started making the garden during a period of personal crisis, shortly after he had been diagnosed HIV+ in 1986. Back then there was no treatment available for HIV and it was fatal in almost all cases. The garden was a tremendous act of creativity and of defiance in the face of a terminal diagnosis, not least because he built it in one of the most unlikely places in the country, the arid, salty shingle of Dunegness, directly in front of a nuclear power station. And, despite his failing health, the garden provided the backdrop to one of the most dynamic and prolific periods in his life; he crammed in more living and working into those last few years before his death in 1994 than most do in a whole lifetime. 

I used the words that close his book, At Your Own Risk, writing them in wax crayon, before brushing some black ink over them. The resist technique didn’t work very well and the words aren’t very legible, so here they are:

‘I am tired tonight. My eyes are out of focus, my body droops under the weight of the day, but as I leave you Queer lads let me leave you singing. I had to write of a sad time as a witness – not to cloud your smiles – please read the cares of the world that I have locked in these pages; and after, put this book aside and love. May you of a better future, love without a care and remember we loved too. As the shadows close in, the starts came out.  I am in love.’

As he wrote those words in the early 1990s, he foresaw a better future for the world. Sadly, I’m not sure if this has come to pass, at least not yet. The crisis of AIDS in Derek Jarman’s time has been resolved across most of the world, but the climate crisis and war in Europe threaten chaos on an even greater scale. I wonder what he would make of the world today? I confess I’m pessimistic about what lies ahead for humanity, but Derek’s life provides a kind of blueprint to at least try and deal with the terrible state we’re in; speak out, respond, fight, create, work, and make a little garden to face down the dark forces.”


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


Francesca Maxwell

“I love abstract paintings (Kick-About No.32) particularly as I know what a challenge they can be for composition and colour, light and movement. In my work I also strive to keep the first creative impetus with its full emotional strength before it becomes too cerebral. So this is one of my abstract painting that deals with space, macrocosm and microcosm. Thank you Phil and all the extraordinary artists who make this creative experience so special.”


www.FBM.me.uk


Kerfe Roig

The Kick-About No. 30: “It was so hard to choose.  But I decided to go with the Fundus Photography. The photos themselves are magical, and I feel the watercolors I did inspired by them are some of the best I did all year.  They are still hanging in my office, almost the first things I put up when I moved, and every day I enjoy looking at them.”


kblog.blog / methodtwomadness.wordpress.com


Phil Gomm

“I’m choosing my short story, Nasturtiums, to include in this anniversary edition for two reasons: the first being that, at first glance, Sheila Legge’s Phantom of Surrealism (Kick-About No.36) left me scratching my head and worrying at the efficacy of my imagination. My second reason for sharing it is because, once I’d stopped worrying, this short story arrived with surprising ease, and for all its inherent strangeness, felt, in some way, inevitable.”


You’ll find a PDF version here.


(I wanted to offer up a little birthday bonus with this edition of the Kick-About, so with the assistance of voice artist, Catherine Bradley, I’m happy to present a little audio-book adaptation of Nasturtiums. Enjoy!)

philgomm.com


Vanessa Clegg

“My favourite kick about this year has got to be the Stezaker prompt (The Kick-About No. 47) I loved the challenge of creating two parallel stories and then putting them together as one piece. Having said that, the Louis Baldwin took me to new areas of finding and stitching and Splendor Solis gave a rare opportunity to become immersed into a drawing over a long period of time. I just enjoy them all!”


vanessaclegg.co.uk


Gary Thorne

“May 2021 – KA #30 Fundus Photography – has to be the right choice at the right time, with May approaching and a garden offering seemingly endless delights of colour. A reawakening of the senses and added energy by way of summer approaching seems a timely reminder to exploit the daylight hours, be observant, and delight in making use of such inspiration.”


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Charly Skilling

“I have enjoyed so many of our KA prompts this past year, it is difficult to choose a favourite.  But I have opted for Kickabout #30 “Fundus Photography”, because I found my “Alien skies” and the poem “Forward, Hover, Focus, Click” flowed so readily and so smoothly that I revelled in the process and now, all these months later, I can still look on the  work and be happy. It is very rare for equal pleasure to be found in conception, execution and retrospection (for me, anyway!) so I cherish this!”



Graeme Daly

“I have decided to choose a recent response for the two year anniversary, which is the prompt of contemporary textile artist – Louise Baldwin (The Kick-About No.48). The outpouring of photography was completely transfixing, utterly intoxicating, but also very unpredictable. It was one of those times where something awoke in me and the tunnel vision of this bizarre creative pursuit was exhilarating – especially because the uncertainty of dumping all those household ingredients into a jar and photographing the bubbling frothy results is a practice I certainly wouldn’t have even attempted if it wasn’t for The Kick-About. But it is one byproduct that the Kick-About can and does unlock, as I do think being an artist means experimenting, breaking the status quo and playing to see what can flourish.  So thank you all for the art, the making, and the doing, and helping me to produce things I would never have dreamed of, and thank you Phil for always curating our pursuits into a post I always look forward to.”


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


James Randall

“So good to be a part of the KA and see all your fabulous work over the last year – lots to be inspired by and challenged to undertake! Personally I got an enormous amount out of the Sheila Legge challenge (KA 36 – Phantom Of Surrealism). I felt a bit aimless at the start but once my mind began wondering about, while trying to recreate Sheila’s surrealist mask, I zeroed in on the parallel stresses between her era and ours – big scary times. That’s when my image took an environmental posture and I cobbled together imagery to represent power and disaster. I also added ground charcoal textures and hand writing to my photographic images and broke up the framing of the image with staggered photo stripes in the background. It was one of those surprising outcomes that seem to happen so effortlessly its almost as if someone else was giving me a hand. I was also happy that the flower head felt a bit Covidish. Looking forward to the next KA.”



Jordan Buckner

“As many have written over this past year, our lives have become perhaps a tad too much like a De Chirico or Hopper painting. The empty, beguilling landscapes feel a little too familiar for comfort, but nonetheless, these sorts of spaces are my stomping ground. The unease of architectural space has always been an inspiration in my work, and so here are a few strange tableaus inspired by De Chirico’s The Song of Love (Kick-About No. 27).”


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


Phill Hosking

“This piece started life as a digital painting, in the style of Rutenberg’s paintings (Kick-About No.32). The more I’ve gotten into his work over the last few years, and as I’ve listened to him speak about his work and process, I’ve absorbed a lot of his wisdom and theory. Painting in Photoshop, from some recent photos I took on holiday in Somerset, I realised that without all the elements of thick oil paint, walnut oil, textured canvas and the monumental scale, this just wasn’t going to cut it. The sense of depth and light depicted in Brian’s work always astounds me, so I took the idea of his interplay of horizontals and verticals into ZBrush. I used the original digital painting to create the colour on the 3D. I made a rough approximation of the artist himself, just as a homage to a bit of a hero of mine, then created a tangle of intersecting forms. I encased this in a glass box to contain this in a 3D space, something the artist conveys so well on his canvases. A departure from my comfort zone on this one, another lesson learned from Rutenberg himself.”


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


Jan Blake

“After a bit of pondering I have chosen the Matisse Kick About (No.38) for the anniversary of this last year’s offerings. I really liked Phil Cooper’s introduction about Matisse and his joy of playing with scissors as an exuberant response to nature. The fact he made these cut outs in later life reminded me of where I am in my own life and the joy I found doing these cut outs and playing with colour, shape and movement.  I think I will be going back to them as they have been left out on the desk asking for more from me…”


janblake.co.uk


And, so as to launch us into another cycle of creative show-and-tell, I’m offering up a night at the circus, courtesy of Toulouse-Lautrec. Send in the clowns!



The Kick-About #46 ‘Not An Inert Box’


If our last Kick-About together introduced all of us to subjects far-removed from our daily lives and wonderfully esoteric, this week’s prompt, courtesy of Gaston Bachelard, returns us to more familiar spaces, as we explore together what makes from a house a home, and between us producing new works in a short time.


Gary Thorne

“I’m calling this ‘ROOM FOR SALE’ making homage to Philip Guston’s titled work ‘Room’, and Kandinsky’s colouration of sound. I considered the vacated domestic space and its dynamism. Although Dulux helps erase hand-me-down occupant existence, a persistent association with the past can linger, creating at times a lively sensation, a bit like a stage set just after the performance. I wonder if we’d be more fluid and poetically connected without redecorating? (This KA reminds me of Charly’s KA#7 prompt ‘Ennui’ by Sickert).” Oil paint on primed paper 75cm x 55cm



linkedin.com/in/gary-thorne


Charly Skilling

“When I was exploring this prompt, I came across another quote from Bachelard’s The Poetics of Space, which got stuck in my head and wouldn’t be shifted.  It was this: ‘Words … are little houses, each with its cellar and garret. Common sense lives on the ground floor, always ready to engage in ‘foreign commerce’ on the same level as the others, as the passers-by, who are never dreamers. To go upstairs in the word house is to withdraw step by step; while to go down to the cellar is to dream.’ The following poem needs more work, certainly some polishing, but such as it is, I share it with you.”


You’ll find a PDF version here.


Phil Cooper

“The prompt this week coincided with my first visit in a long time back to the U.K. to visit mum. She still lives in the Victorian town house where I grew up and, despite having left when I was 18, which is now nearly 30 years ago, it still feels like the family home, the place where we gather together when we can.  Dad passed away a few years ago, but the house is full of memories of him. Looking around the old home, there are traces of all of us; gifts we gave each other, things brought back from holidays, family heirlooms, antiques, and things bought for pennies in junk shops. Each object has its own associations, memories of people and places and of particular moments in our shared histories. I’ve photographed a small fraction of them, taking them out of their usual environment of the windowsill or mantelpiece where they have become so familiar. I’ve enjoyed handling them, feeling the vibrations of their stories resonate again down through the years to the present moment. They still feel very alive and the memories they stir up so vivid and poignant.”


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


Vanessa Clegg

“I honed in on boxes, so these are a couple of examples of treasures secreted away in dark spaces…”


vanessaclegg.co.uk


Kerfe Roig

“I don’t know why, but the quote made me immediately think of my boots.  So I drew them on some well-used packing paper.”


kblog.blog / methodtwomadness.wordpress.com


Jan Blake

“So lovely to see the continuation of everyones amazing creative work over the past few Kick-Abouts… I have spent a lot of time inside these four walls lately, and I have brought the trees with me. The outside is so close to me here in both directions, even though I live in the centre of a city. It’s as if the walls no longer exist, except perhaps in winter, when the shutters are closed early and the fire is lit. Yet the wood of the shutters are my trees in winter and the wind is my music. It is already lit throughout now with sunshine as I write this, and I feel its true self. The outside is also the inside and I am the bird perched high on the hill, ready to fly off. Curiously the work I have been doing feels appropriate. I am inside the tree.”


janblake.co.uk


Phil Gomm

“My response to Bachelard’s observation was, in part, inspired by a recent re-watch of Street of Crocodiles by The Brothers Quay, a stop-motion animated short in which the miniature world on screen is characterised by its grime, dust, and catalogue of discarded, forgotten things. Street of Crocodiles always puts me in mind of my student house when I was at art college, a rather grim affair of fractured linoleum, black mold, and an upright hoover that seemed to produce dust rather than consume it. ‘Desquamation, deriving from the latin word desquamare, meaning ‘to scrape the scales off a fish’, is the word describing the shedding of our skin. None of us like to think too long or too hard about what comprises the dust collecting on the surfaces of our homes, but to watch Street of Crocodiles is to fairly relish in the stuff...’ or so I have written previously, and it was with this in mind, I settled upon my idea: to visit some of the less pristine surfaces in my own home, and with the aid of a tiny, but blazing light source, illuminate these spaces that also speak to the truth of habitation. Featured here are all those sites of domestic shame: the grill pan, the unwashed hob, the dust-bunnies under the bed and behind the door, the stray hairs, beard-based or otherwise, once connected, now disembodied and abject, and also the cropping up of balls of bright red fluff, from my socks I think, but as widely dispersed as spores.”



Graeme Daly

“I found Gaston Bachelard’s words very inspiring – along with a recent chat with Phil G. I too wanted to capture that feeling of space feeling occupied, by showing the wondrous shedding of life of which lived-in spaces have an abundance – especially in the depths of where you don’t look. I live in an old Victorian house, and me being a hairy bastard I have so much copious scatterings of hair matted into carpets you could make a toupée. Pictured here are clumps of my hair, with the usual sprinklings of dust, dead skin cells and other oddities that life and space deposit” 


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


James Randall

“I started thinking about all the little bits and bobs we leave around and began taking snaps of stuff my dear husband covers all surfaces in, but I was getting maudlin and decided not to go there – so I went to the wider outdoors as an inhabited space. Of course this has to go to colonial occupation and my lovely country being a form of home invasion. I’m currently listening to an audio book – ‘Salt’ by Bruce Pascoe, who talks about all the environmental changes that his ancestors made to the land but explorers thought were the natural environmental state of the land. I saw this KA as an opportunity for a white male to give support to the indigenous custodians of this land. I thought it needed to be positive – it’s just simple. Emphasis on ‘our’ treaty.”



Marion Raper

“If you looked around my house you would see that I heartily agree with Monsieur Bachelard’s sentiments. I have a very ecclectic assortment of objects, which give my place the ‘lived in’ look. I decided to wander around and sketch some of my favourite either useful or beautiful items. Firstly my sewing machine – very essential to me, together with my daylight angle poise lamp. Then, although books are not so necessary these days, I am still intrigued to peruse through a bookshelf and see what people are passionate about. It’s the same with cushions. They not only brighten a dull corner but you can tell a lot about someone’s style with a cushion – mine have a tendency to be patchwork! There are also three very ancient teddy bears. One is the same age as me and is wearing my first knitted jumper and hand-sewn trousers. Next a couple of mirrors. One is fancy and belonged to my parents, and the other an art deco copy, which I found in an antique shop and luckily just managed to squeeze enough money to buy. Strangely, I love my set of saucepans which when hung from the ceiling give the ‘country kitchen’ look and finally there is the old grandfather clock. It was made between 1740 -91 and the family rumour is that my great great grandpa lost all his possessions on a bet and the only thing he had left was the clock. He brought it to London and started a business as a Law Stationer. So although my house does not have a trendy minimalist look, I cannot imagine living without the things that have stood the test of time and have so many memories.”



And for our next excursion into thinking and making, the work of photographer, John Stezaker… have fun!



The Kick-About #45 ‘Splendor Solis’


From the effortless, airborne whirligigs of our last Kick-About together to another transmutation of matter into something elemental and illuminating! For this week’s creative challenge, we’ve been in the business of summoning the sunshine, and, at risk of seeming self-serving, I want to give special thanks to Gary Thorne for his contribution, which has something nice to say about all these continuing acts of creativity of ours, and the light they bring.


Vanessa Clegg

“I was thinking what could be the most ‘alchemical’ transformation imagined? What on Earth happens in those tiny parcels called the chrysalis? From the juicy tube of a caterpillar, wrapped tight and left to transform, an entirely new creature is made: the butterfly, drying and pumping its wings in the sun, a symbol of summer. The image is upside down, as I wanted the cases to look like ‘sort of’ vessels, with the butterfly levitating and held by one antenna; the dark and the light existing together.”


vanessaclegg.co.uk


Charly Skilling

“I have tried to capture the colours and shapes of the Sun, as depicted through centuries of astrological and alchemical treatises and depictions. It was much aided by photographing in the bright clear sunshine of an unexpectedly lovely January day.”



Tom Beg

“Of all the imagery in Splendor Solis, what amused me the most was the theatricality of three-headed dragons, peacocks and a menagerie of other bizarre things magically appearing in bottles by the presumed mixing of various materials and more than a bit of a hocus pocus. I decided to conjure up some of my own alchemic creations and create something a bit fantastical.”


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


Phil Cooper

“I was making a collage earlier this week, painting textured papers to make the raw material and then snipping and glueing into place for the final image. When I’m working with collage, the papers and leftover cuttings get strewn about the floor and quickly build up to form drifts of scraps around my feet. While I was making, from time to time, I’d muse on the beautiful Splendor Solis prompt, and what I might make for this week’s Kick-About. 

I started to focus on the transmutation of alchemy, and so turned to the flotsam and jetsam surrounding my desk as I was messing about with collage. It’s a medium I enjoy working with for many reasons, mainly for the surprising juxtapositions that can emerge as I put one piece of paper next to another; effects that would never have happened if I’d tried to direct painting. When it works, it’s transformative, the separate elements of the collage become more than the sum of parts and something new is created. 

So this piece is using up some of those paper scraps that have been generated by my work earlier in the week. Using the alchemy of collage, I’m reflecting on the rather everyday, mundane alchemy that we’re all doing all the time; how our thoughts, words and actions ripple out into the world, influencing and changing things, sometimes dramatically, sometimes subtly.”


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


James Randall

“My pic was born a couple of days before the KA announcement but I thought it fitted in – colour if not theme. It’s about how we are just ‘other’ animals – not nearly as clever as we’d like to believe. It is also to do with male sexuality (cue an old book “Sex On the Brain: The Biological Differences Between Men and Women”). I added a couple of quick sketches fully in response to the KA.”



Marion Raper

“It’s been a hard 2 weeks at the office! I have tried various methods to obtain my Eureka moment – one of which included getting up at 5.30am to capture the sun rise ( which when it happened I seemed to miss!). Eventually I decided to use a sacred geometry and alchemy symbol and copied the design using black threads on a painted background. However, being a ‘perfectionist Virgo’ I was not content with the result, so I then spent some time adding various bits of crochet , threads and material scraps from my ‘magpie stash.'”



Kerfe Roig

“Thanks for the introduction to this wonderful book!  I could have gone on and on time permitting, and will keep it in mind for future expLorations. Out of the 22 images of the Splendor Solis, I chose to work with Plate 2, The Alchemist: “Seek the Nature of the Four Elements”.  First I did a collage based on the painting alone, then, after reading a bit about its symbolism, I made my own, looser interpretation.  I was especially drawn to the Alchemist’s connection to the natural world, in particular flowers and birds, and his alternate identity as the Deity of Celestial Light.”



The Alchemist

Below my feet the path waits
for the earth to open me–
the layers of brown and green
remember the moon, its circles
orbiting continuously
through both dark and light.

The chill of morning warms
to birdsong. The seasons
endure.  In spring the autumn
seems far away, but life is
always preparing to die
and start all over again.

What is the secret of transformation?–
ancestors embedded in every root,
in every branch rich with leaves
that will blaze in a sudden last glory–
nourishing what follows
with what has come before.

We know so little, after all,
of the workings of nature,
of its consciousness.  Does it
even have yesterdays or tomorrows?
Does it acknowledge return, or is all
but a single endless moment in time?

We mirror our own inner maps
as stars–the dust of elements
contained in our bones–
merely vessels, seeking
the essence of who we are
inside the question itself.


kblog.blog / methodtwomadness.wordpress.com


Phil Gomm

“So, how to conjure an astronomical phenomena into being in a short space of time, when access to fusion reactors, rocket-ships or celestial wormholes is otherwise unavailable? There’s a part of me that wants to keep the whole process behind these photographs as mysterious and unknowable as their subject; another part of me can’t wait to tell you I quite literally put a source of light into a glass vessel and then gave it a bloody good shake… light and time producing an alchemy all of its own.”



Gary Thorne

“When in the period of the Post-Covid, people’s minds were waking from the long sleep of darkness, Phil Gomm, one of the well known Adepts of Inspiration, went forth (with his followers) in further search of that secret knowledge, the possession of which leads to Alchemical Adeptship for the Truely Motivated. Let those, lost in times of darkness, reflect on the reputed works of the KA Adepts, to ignite their own transformation.”


linkedin.com/in/gary-thorne


And for our next foray, ladies and gentlemen, a few expansive words on the theme of home and habitations from the likes of Gaston Bachelard…


The Kick-About #43 ‘The Night Before Christmas’


Our last Andy Goldsworthy-themed Kick-About together inspired some winter wonderlands (and some much less wintry offerings too, courtesy of Brisbane-based artist, James Randall). For this, our last creative runaround of 2021, we’re keeping things seasonal, with an illustration by Arthur Rackham for a festive classic. Enjoy this showcase of new works made in a short time, and wherever you are, and whoever you are, I wish you and yours all the very best. “Merry Christmas, one and all.”


Gary Thorne

“I jumped into this sweet text with no clear ideas, so dug out my favourite Pelican fountain pen and began a repetitive process of re-writing the narrative onto lightweight card cut to 140cm lengths. On completion, to counter the banality of what I’d done I re-wrote it, word-for-word, in free-form graffitti style; less mind-numbing, yet still clueless as to the intention. Days later, in woodland, I happened upon a magnificent, towering, perfectly-formed evergreen. With willow twigs in-hand, and the echo of Goldsworthy, I then attempted this balancing act. It may not be towering at 150cm, unless perhaps you’re that mouse not stirring on Christmas Eve. May all Kick-Abouters enjoy a healthy and happy holiday.”


linkedin.com/in/gary-thorne


Tom Beg

“It’s the season of giving gifts, but these days it’s more like the season of GIFs for me. I’ve been making a lot of quick fire animations in my spare time, and producing some looping Christmas tree things seemed quite natural. I think this one is suitably high-tech but festively cheesy at the same time.”


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


Kerfe Roig

“The night sky needs no man in a red suit, sleigh, or reindeer to inspire wonder.”



What To My Wondering Eyes

the night lengthens
into hours that refuse to pass

the stars grow larger,
constellations singing

suddenly a bridge,
a ladder made of light

silence becomes a dance,
its ancient steps retraced

the circle keeps its promise–
a child will lead the way


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

I have taken some artistic license with this Kick-About, and you must imagine that it is early on Christmas Eve when the light is just starting to change before darkness falls. The weather is cold and there has been snow a few days earlier, which is now slushy . This young boy’s mother has said, ‘Hey Jack. Can you just run up to the woods and bring us back a little tree to decorate tonight? Your father’s so busy at the farm he’ll be exhausted by the time he get’s home and your brothers and sisters are so excited and can’t wait to start decorating it. I’ll never get them bathed and into bed asleep before Santa comes tonight!’ Christmas Eve is such a magical time and there is so much to do that it always flies by before you know it.



“And wishing all the Kick-About gang a relaxed, leisurely Christmas and a healthy new Year – artwork courtesy of Toby, my youngest grandson, who proudly carried this picture out from school this week.”



Phil Cooper

“The shadows in Arthur Rackham’s drawing are rather ominous, but I find there’s a spookiness lurking in so many of his images. His work is, on the surface, often enchanting and whimsical, but there’s a darkness and strangeness to them hiding just out of frame.

I’m submitting a painting that plays with similar themes for this Kick-About; shadows and light, mysterious things unseen, and a prickle of unease. I don’t know what’s going on behind the topiary here, perhaps somebody burning rubbish on a bonfire, or a streetlamp, or maybe something else…”


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


Graeme Daly

“Not much from me today, as I did these quick sketches on the journey to Stansted airport on my way back to Ireland! I couldn’t get over the eerie nature of Rackham’s scratchy shadows! I found his illustration horrifying – in the best way! For me, Rackham’s art always veers towards that polarising view of what is ‘charming’, where it is uncanny and not quite right. There’s something about the blackness of the line work, particularly with the scratchy shadows, and the way the sickly stained walls progressively get more bruised towards the top; making me think old Saint Nick isn’t as jolly as it’s told, and could be hiding in those shadows, ready to unhinge his bearded jaw and gobble up those kids as they run right up to him… ‘He sees you when you’re sleeping, He knows when you’re awake…'”


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


Charly Skilling

“I grew up in a very tall, very dark, very cold Victorian house, and although Arthur Rackham‘s drawing was done a quarter century earlier, the image instantly brought all my childhood fears back to me. There were shadows everywhere and permanently icy draughts that stroked the back of your neck, and then savagely slammed any door you were unwise enough not to shut securely behind you. It was great in daylight: high-ceilinged rooms and long corridors, changing floor levels, and plenty of hiding places. But when the night drew in…”


You you can find a PDF version here.


Vanessa Clegg

“I was thinking of the brilliant film, Nosferatu, with the shadow of the vampire climbing the stairs then put that into the traditional snack left out for Santa! Enjoy Christmas everybody, however you choose to spend the time. Have fun and keep cosy.”


vanessaclegg.co.uk


Phil Gomm

“On Christmas Eve in our house, there was always a tradition of telling ghost stories just before bed, often with a flickering candle for a bit of Dickensian ambience. Sometimes the stories were read from a book, but often they were created by the family itself, each of us taking it in turns to make up a new bit of the story, before letting the next person continue it, cliff-hanger by cliff-hanger. Mostly, these descended into fits of giggles, as my brother and I failed to resist the temptation to slip rude words into our respective sections, and by ‘rude’, I mean words like ‘bum’, and ‘knickers’. *Snicker*.

Christmas Eve has always had this touch of spook about it, and I think my sensitivity for this peculiar atmosphere predates any knowledge of Scrooge and his ghosts. It was just a night with an imminence like no other. Rackham’s illustration of these three boys heading up to bed captures this feeling very precisely; it’s there in the contrast between their cherubic faces and what is not so angelic about the rendering of their shadows on the wall behind them. I thought this a perfect opportunity to revisit that childhood tradition of a Christmas ghost story.”


You can find a PDF version here


James Randall

“Thanks Gary Thorne for your good advice to take a sub-tropical approach. And so I landed on the hot nights when the heat spins about you as you search for the numbness of sleep. I could have used a darker palette for night. I had the Christmas excuse to use the gold paint that I was too conservative to use previously – wish I could share the metallic on screen. So as the year darts to a close thanks to all of you wonderful KAers and your inspirational works. They amaze me every week and make me want to try harder to capture some of your spark. May you all have a wonderful Christmas and a healthy happy 2022!”



Courtesy of Kick-Abouter (and artful Christmas Tree wrangler) Gary Thorne, we have a new prompt to carry you through those moments when, despite all the food and other festivities, you’re twiddling your thumbs and wish there was a classic example of mid-Century kinetic art to inspire you…



The Kick-About #35 ‘Souvenir’


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


Gary Thorne

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


linkedin.com/in/gary-thorne


Charly Skilling

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




Vanessa Clegg

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


vanessaclegg.co.uk


James Randall

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



Francesca Maxwell

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


www.FBM.me.uk


Kerfe Roig

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

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



Souvenir

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

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

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


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

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




Phil Gomm

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

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



Graeme Daly

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


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


Tom Beg

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


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


Jan Blake

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


janblake.co.uk


Chris Rutter & Evelyn Bennett

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


rutterandbennett.com / instagram.com/rutterandbennett


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



The Kick-About #34 ‘Menken’s Lights’


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


Vanessa Clegg


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

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

vanessaclegg.co.uk


Phil Cooper

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


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


Marion Raper

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




Phil Gomm

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

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

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



Tom Beg

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

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



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


Kerfe Roig

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


kblog.blog / methodtwomadness.wordpress.com


James Randall

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



Chris Rutter & Evelyn Bennett

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



rutterandbennett.com / instagram.com/rutterandbennett


Jan Blake

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



janblake.co.uk


Charly Skilling

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



Graeme Daly

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


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


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


The Kick-About #30 ‘Fundus Photography’


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


Gary Thorne

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



James Randall

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

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



Phil Gomm

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



Tom Beg

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



twitter.com/earthlystranger / vimeo.com/tombeg


Marion Raper

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



Phil Cooper

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

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

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

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


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


Vanessa Clegg

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

Watercolour on vellum. 10cm X 8cm


vanessaclegg.co.uk


Kerfe Roig

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


kblog.blog / methodtwomadness.wordpress.com


Charly Skilling

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




Graeme Daly

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


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


Jan Blake

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



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



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



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


janblake.co.uk


Emily Clarkson

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



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


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



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


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


Vanessa Clegg

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


vanessaclegg.co.uk


Tom Beg

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



twitter.com/earthlystranger / vimeo.com/tombeg


Marion Raper

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



Francesca Maxwell

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


www.FBM.me.uk


Kerfe Roig

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


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Phil Gomm

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



Graeme Daly

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