The Kick-About #21 ‘The Five Canons Of Rhetoric’


The Kick-About comes of age today, with Edition No. 21. Let me begin by saying how restorative, ordering and genuinely exciting I find our collective runarounds. Through your emails, comments and conversations, I know you value the Kick-About too, seeing it as an opportunity to make some new stuff, finish some older stuff, get something done, take risks, recreate, and get your hands dirty. It gives me great pleasure to host your work on here. Red’s Kingdom is lucky to have you. Long may we play together.

Last time, we tied ourselves in knots; even so, I suspect this prompt proved knottier.


Vanessa Clegg

“The definition of rhetoric in the little Oxford dictionary is: art of persuasive speaking or writing; inflated or exaggerated language. Based on that (with a bit of Samuel Beckett’s ‘Not I’) I’ve spliced together the opening lines of Barack Obama’s inauguration speech with a selection of Donald Trumps tweets (sections of ). Calm authoritative argument versus shouted ignorance (in my opinion!).”


“Each time we gather to inaugurate a president
I WILL NOT BE ATTENDING THE INAUGURATION!
we bear witness to the enduring strength of our Constitution,
THE ELECTION WAS STOLEN!
we affirm the promise of our democracy,
IT WAS A RIGGED ELECTION!
we recall that what binds this nation together,
SORRY LOSERS!
is not the colours of our skin, or the tenets of our faith or the origins
of our names,
WE’RE GOING TO BUILD A WALL!
what makes us exceptional, what makes us America
AMERICA FIRST! AMERICA FIRST!
is our allegiance to an ideal articulated in a declaration made more than
two centuries ago.
MAKE AMERICA GREAT AGAIN! MAKE AMERICA GREAT AGAIN!
We hold these truths to be self evident, that all men are created equal;
FAKE NEWS!
that they are endowed by their creator with certain unalienable rights;
BULLSHIT!
that among these are life, liberty, and the pursuit of happiness”
STOP THE STEAL! STOP THE STEAL!


vanessaclegg.co.uk


James Randall

“Rhetoric – it is what it is.”



Phil Cooper

“The prompt this week made me think about the creative process, my creative process, something I don’t usually spend much time contemplating. What does my creative process actually involve? Which parts of the process am I good at, and which parts do I find uncomfortable and hurry past? What is my – and I recoil slightly from the earnestness of this word – practice? I’ve found stepping back and considering how I approach my work a useful exercise. For this Kick-About, I’ve tried to take a photo that includes some of the steps I might go through in making an image; there are sketches, with some of the quick drawings that are often the very start of the process for me, then painted papers I make to provide the raw materials for my collage work, a collaged blackbird taking shape, and also a finished image of a wintry landscape with a barn owl, plus reference books, poetry and other stuff I might find that sparks inspiration. Birds provide a good, if rather obvious, metaphor for this process; sometimes the idea flies, sometimes not….”


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


Tom Beg

“I thought the five words evoked something mysterious, something unseen and a bit psychological. Mostly I was inspired by the patterns and colours MRI and CT scans produce as a way of visualising how our brains react to a specific emotional response or biological function. In this case, the triggers being inventio, disposito, elecuitio, memoria and pronuntiatio, and a very abstract visualisation of those words. I have my own ideas about which of these images represents each of the words, but in the end I thought I would leave it up to the viewer to come up with their own interpretation of the order.”


twitter.com/earthlystranger / vimeo.com/tombeg


Charly Skilling

“Once I had got over my initial panic on reading the ‘5 Canons of Rhetoric’, I read a bit more on the subject and realised what was being described was a process – a process which could be applied to many creative endeavours. The stages may have different emphases for different types of creativity, but (it seems to me) the principles remain the same. I decided to test this hypothesis by applying it to a much humbler craft than oratory, but one that I know well. Below I have tried to show the 5 canons applied to the process of making a crochet blanket, from initial idea to finished piece.”



Kerfe Roig

“My mind glazed over as I read through these rigid and formal ways of organizing communication. Of course the word rhetoric has multiple meanings, the first of which, is “(in writing or speech) the undue use of exaggeration or display; bombast”. Something we all been over-subjected to of late. What is true of all the definitions is that rhetoric involves the use of language.

One synonym given particularly caught my eye: ” balderdash–senseless, stupid, or exaggerated talk or writing; nonsense”. The word nonsense immediately made me think of the surrealists. The surrealists felt that letting go of the need to control your creation would reveal deeper truths. This was true of both visual and written art. They rejected logic and reason. I often use surrealistic techniques for both my art and my writing. I’ve been doing Rorschach images for awhile: these little cards are done by dripping the leftover paint from my watercolors onto the card and folding it in half. Usually the layers are done in several sessions. I also compose comments for my images using words and phrases I’ve cut out of magazines and advertisements. I limit myself to what’s contained in one envelope for each card, and often spend quite a long time choosing and arranging them. I call it ‘the collage box oracle’, as it’s similar to using magnetic poetry. I was originally inspired by Claudia McGill, who is a master at this technique. I’m usually surprised by what appears. It always makes me think.

I first scanned in just the images, and then worked on the words. When I went to scan them, I realized I had changed the orientation of the image in half of them. Another unexpected surprise. Surrealistic Rhetoric has no pretense to being anything but a random arrangement of words, but somehow manages to incorporate at least 4 of the classical canons: invention, arrangement, style, and delivery. As to memory, well, canon #7 deals with that.”


The Eight Canons of Surrealist Rhetoric

Is there anything more archetypal than nothing?

Space is just energy deconstructing.

You expected evolving to be more complex.

Adventure awaits beyond the details of yourself.

Fools rush into the shadow of the projected image.

I was invented from the earth’s fertile surfaces–
otherwise my unlimited nakedness would be alarming.

My plans are to forget to remember.

There was a window from the start—simple and mysterious–
imagine looking through it to what is hidden between.


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“I was intrigued to learn about the new archaeology regarding Stone Henge, whereby they have discovered that an ancient stone circle at Waun Mawn in Wales was the original prototype. I decided there must have been one farsighted individual who used his power of rhetoric to persuade his Neolithic mates to help him with this great project over 3,000 years ago. So…”


‘We don’t need to hide ourselves away in this Peat Moor as a second rate team. We could be top of the league! Let’s show them what we can do. You know those huge blue stones lying around the pitch everywhere? Well,why don’t we move them to Salisbury Plain! It won’t be difficult to get them there – it’s only a stones throw, of about 150 miles. We’ll get some of the local lads together and roll them there on timber sledges. No sweat! Then we’ll have a Rave – a Pop Festival – around Midsummer say. I’ll see if I can get some class acts like The Amesbury Archer or The Boscombe Bowmen. Those blue rocks have great accoustics! We’ll have a game, a few jars, a bit of stargazing and then watch the sun come up! They’ll be gobsmacked for years to come! It’ll be epic! What d’ ya say?’



Jan Blake

“The Five Canons of Rhetoric. Well, that made me think about where I’m at! 1) INVENTIO – I have a passion for seed-pods. They are my inspiration. 2) DISPOSITIO – I selected 5 from my collection. Nigella Damascena, Physalis Peruviana, Wisteria Leguminosae, Magnolia Grandiflora, Entada Gigas. Five was overwhelming, and they all had a story to tell, and despite spending time drawing them, with real attention to their individual personalities, I kept being drawn to the shiny black pod in the middle that fitted so deliciously in the palm of my hand. When I looked it up, it was certainly of the pea Family. I found a clue online .. it could be a Sea-Heart, a pod that drifts across the world. It comes from a vine that scrambles through trees in tropical areas of vast size, the biggest and most extraordinary of the pea family, also known as the Monkey Ladder. I had to find out, so I rang the friend who had given it to me on a very special birthday a few years ago.

“Where did you find it?’
“On a beach in Donegal.”

Jackpot! 3) ELOCUTIO – I had discovered where it may have come from and where it landed: from the Gulf of Mexico, along the Gulf Stream’s warm currents, to land on the sandy, windswept dunes of Donegal on the West coast of Ireland. It’s an intriguing pod, beloved of sailors, who hung them round their necks when on a treacherous sea voyage to keep them safe, and also made into snuff boxes, and decorated in Africa with wonderful designs as a gift. So I took the story, took elements that suggested shapes suitable to travel from the other pods into its story 4) MEMORIA! The final piece is too sketchy for 5) PRONUNTIATO! but it satisfied my ever-growing wanderlust for returning to Mexico to see the Monkey Ladder growing!”


janblake.co.uk


Phil Gomm

“I wanted to engage with the prompt as it related to the idea of moving from an initial instinctive idea to something recognisably cogent and complete, and communicated successfully to others. I chose the pangram, ‘The Quick Brown Fox Jumps Over The Lazy Dog’ because, in its use of every single letter in the alphabet, I thought I could argue it was a single sentence encompassing every other English language idea possible; every book, every song, every poem, every philosophical treatise, every argument, and so on. As the animation goes on, you see different ideas vying for representation and moments of indecision, flashes of inspiration – helpful and otherwise – and a final resolution of the phrase we can recognise collectively as ‘right’.”



(There is some pesky pixelation due to compression in this Vimeo version: with a bit of luck, you’ll find the original video to view hosted here).


Gary Thorne

The subject matter has been in the back of my mind for a while, yet I haven’t had reason enough to do it, until now, so thanks Kick-About. The subject is myself (James Randall is owed credit here), organisation spans 1957-2021, clarity of intent seems to arrive through the preceding years, as things add-up, and delivery is through my favoured medium – oil on prepared paper, 20x20cm each.


linkedin.com/in/gary-thorne


Courtesy of regular Kick-Abouter, Marion Raper, we have our all-new prompt, the art, life and times of the Austrian painter, Eugen von Ransonnet-Villez. Diving-bells at the ready please!



The Kick-About #20 – The Ashley Book Of Knots


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


Francesca Maxwell

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


www.FBM.me.uk


Phil Cooper

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


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


Vanessa Clegg

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


vanessaclegg.co.uk


Kerfe Roig

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


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

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

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


kblog.blog / methodtwomadness.wordpress.com


Gary Thorne

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


linkedin.com/in/gary-thorne


Charly Skilling



Graeme Daly

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


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


Tom Beg

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


twitter.com/earthlystranger / vimeo.com/tombeg


Phill Hosking

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


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


Marion Raper

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



Jan Blake

“The tree won me over again this week, and this tree in particular, as it reminded me of Mexico.  I saw it from a very cranky bus travelling around an enormous canyon that seemed to be creating its own knots by winding round and round and up and up. I was astonished to see trees perpendicular to the rock face. The painting is just a memory and it reminds me of Chinese paintings of those trees on top of misty mountains that the Chinese love. I wanted to express the heat and dust of the Mexican canyons, rather than the cool misty hill tops of China. I think I have a way to go the grasp that sense. The other couple of drawings are of repeating patterns that knots can make, as in this netting. So graceful when they are hung out, so lethal in their use.”


janblake.co.uk


Phil Gomm

“The idea for this short story came quickly. Making it work on the page took much longer! In large part, I was responding to the idea of ‘the nip’, the idea of friction, abrasion and tensions tying people together in impossible knots – and the idea too that the security of a bond in certain circumstances might require a lot of nip.”


You can find a large-print PDF here


James Randall

“Knots – the topic had me all bound up – what will the world be like in the future – knots leave traces about the nip mark and there will be plenty of those to be revealed in the coming months. I began with a sketch of a garden knot as a starting point then did a couple of James knots – I feel like I need unknotting here in Sydney – can’t begin to imagine what you must feel like in the UK!” 



Many thanks to our regular Japan-based Kick-Abouter, Tom Beg, for our new prompt for the Kick-About 21, which casts us off in a completely new direction: the very mechanics of forming ideas and making them understandable by others no less! See you all on the other side.



Throwback Friday #38 Sir Peter Buck (2017)


A few days ago, I was very happy to share this portrait-come-caricature, drawn by the artist, Phill Hosking, to mark the occasion of my forty-sixth birthday. While I am completely mystified by the strange genre of pouting selfies, I am not immune to the satisfaction that comes from finding an image of your own face that you actually like. We’re not supposed to be too interested in our own visage, though in reality most of us are somewhat preoccupied, not by notions of our own rare and transcendent beauty, but rather by the effects upon our faces of the ravages of time. That said, I was very taken with Phill’s birthday drawing. Yes, I thought, that is me right there.

But Phill isn’t the first artist to take liberties with my features. Back in the summer of 2017, a portrait was hung on a newly restored wall in a newly restored room in a newly restored Grade 1 listed Elizabethan townhouse in Rochester, Kent – a house notable for its association with author Charles Dickens, featuring in both The Pickwick Papers and The Mystery of Edwin Drood. The portrait in question, featuring an esteemed former resident of the townhouse, bears an uncanny likeness to yours truly, which, at first glance, seems very odd indeed, considering the man in the painting is resplendent in the ruff and cuffs of Tudor fashion. But no, this is not some spooky instance of reincarnation, but rather a bit of historical fabulation, expertly executed by the artist, Kevin Clarkson. I’m going to let Kevin take the story from here…


Kevin Clarkson: “The portrait of Sir Peter Buck was in fact part of a larger illustration project to help tell the story of Eastgate House, a Tudor town house in Rochester, Kent, which was at that time undergoing refurbishment. The house was built for Sir Peter Buck in 1591. It now belongs to Medway Unitary Authority.

In its time, the house has been a Girls school and a museum, as well as a private dwelling. It also featured in several of Charles Dickens novels. I had been involved with a number of historical illustration projects for the Guildhall Museum in Rochester, and was approached to produce visuals for a new suite of visitor engagement graphics for Eastgate House. The oldest rooms of the house were going to be restored as far as possible to their Tudor appearance, supported with suitable information graphics. At my first meeting I learned no image of Sir Peter Buck was known to exist, so it was decided to create one to be incorporated into the graphics. I felt this was a missed opportunity; a man of Buck’s status would likely have a portrait in his home and I suggested we produce a facsimile to hang in the room, rather than be incorporated into the graphics. To my surprise the idea was immediately agreed and I realised I was now tasked with creating a convincing Tudor style portrait.

I began to research Tudor portraiture; one aspect which concerned me was costume. I knew in the later years of Elizabeth 1’s reign, she introduced “Sumptuary” laws that defined what fabrics and colours could be worn by different classes in society. I was keen not to deck Sir Peter out in the wrong kit! A frantic email to the Victoria & Albert Museum elicited a very helpful guide and a large reading list – the project was growing.

The Tudor period was almost the beginning of portrait painting as we know it, where a figure would actually resemble the individual closely, rather than being a generic face surrounded by symbols of wealth and authority. The obvious place to start was looking up Holbein and Hilliard for style and treatment, and then expand to see how portraits developed in the early 1600s, when Sir Peter would be in his prime and most powerful. From the start I was determined this was going to be a real portrait of a living breathing person; I was not going to clone an existing Tudor portrait.

I needed a sitter – but who?

This posed quite a problem, since a full beard was almost universal facial furniture in the alpha-male Tudor portrait, and although the beard is again popular, few take on the luxuriant full Tudor look and frankly the only owner of one I knew well was far too young to be Sir Peter.

The solution came from a passing conversation with my daughter, Emily. She reminded me her former Course Leader sported a beard of Tudor dimensions. I was saved – assuming Phil agreed, of course!


Portraits by Giovanni Battista Moroni


I had by now surveyed the work of a range of artists of the period; my favourite by a long way was the north Italian artist, Moroni. The poses adopted in his work are very informal and natural, very like modern portraiture. Sadly artists working in northern Europe, and the UK in particular, were much more rigid in pose and reluctantly I had to select a more formal look. It was clear Phil would be far too busy to sit for the painting, so photography would have to fill the gap. I supplied a number of Tudor poses to Phil, who was able to create a range of reference photographs from which I could work.


From the series of ‘serious and imperious’ self-portraits and reference images used in the production of the final painted portrait.


Tudor portraits would have been painted in oils using linseed oil as a medium, usually on fruitwood panel or canvas stretched over a softwood frame. I could have used oil but time was against me, so acrylic on panel was my selection. Acrylics dry in minutes, whereas even fast drying oil takes far longer. When varnished, acrylic is often indistinguishable from oil paint.


Kevin’s portrait of ‘Sir Peter Buck’ takes shape.


The actual painting process was straightforward: I gridded the photograph and transcribed it to the actual size of the painting, then began blocking in the colour. One thing I was nervous about was my selection of colour. The Tudor palette would have been composed of fewer colours, and I was determined to remain within the colour vocabulary of the period. I didn’t have time to research exactly which pigments were available at Sir Peter’s time. Instead I studied the colour values of the Tudor portraits I was using for reference and hoped that would keep me in the right area.

On completion I left the painting for a few days before coming back to look with a fresh eye. I don’t think I did more than a couple of tiny adjustments before bonding the paint surface with a sealer coat of gel medium, and, when dry, a gloss acrylic varnish. The new old master was complete!

In the interests of clarity, so that a future curator would not be fooled about the provenance of Sir Peter, I inscribed the back of the painting with details of the sitter, together with the date and my signature.

Thankfully Sir Peter was well received and is now a permanent resident of Eastgate House.”

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


The completed portrait / Kevin Clarkson 2007


Sir Peter Buck’s portrait hanging in Eastgate House, Rochester, Kent