The Kick-About #67 ‘El Anatsui’


Our previous Kick-About was an explosive affair, as Turner’s Mount Vesuvius in Eruption re-surfaced the land, sea and sky with glowing skeins of lava and fired our imaginations. No less spectacular are the sculptural installations of artist El Anatsui, whose enormous, glinting mosaics drape gallery walls like bejewelled magma. Enjoy this latest showcase of new works made in a short time inspired by Anatsui’s works.


Phil Hosking

“On seeing El Anatsui’s incredible sculptures I felt exceptionally inspired to make. There’s something about his process of turning discarded relics of human mass consumption into objects of such beauty that resonated with me. Over recent years I’ve collected bucket loads of plastic from various beaches in Kent, never really knowing what to do with them, suddenly when I laid a bucket full out on the work bench, I started pulling them together and adding some order, which is what I got from Anatsui’s work, order brought to valueless trash. As the wired-together plastic was only about a foot across, I cut out and painted a wooden frame, as if the silhouette was intentional.”


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


Gary Thorne

“I had some other intentions as to what could happen making use of this collection of old photos inspired by El Anatsui yet, by the end of mucking-about, this assemblage gave the impression of Rome’s Pantheon inner dome and gazing upward through the central opening to the sky. I wasn’t even thinking about it yet, I did just return last week from Rome. Might be nice to glue the whole lot to the spare bedroom ceiling.” 


linkedin.com/in/gary-thorne


Marion Raper

I very much admire the work of El Anatsui and his amazing way of using recycled items such as bottle tops and turning them into fabulous artworks and metallic cloth sculptures.   I was trying to think of a way that I could emulate such wizardry and came up with the idea of weaving some of my stash of old ties. I used some black crinkly wool for the weft threads, which I stretched over an old picture mount to make a loom. Next, I cut the most colourful ties into long strips and threaded them in and out as the weft threads. I must say I was rather surprised at how a few vividly coloured gents’ ties (from the last few decades) could transpire to resemble a wonderful African fabric, but weirdly they do!



Kerfe Roig

“I’ve reverted to a grid, echoing El Anatsui’s use of recycled materials.  I wanted to sew the squares together, so I needed something fairly thin.  I painted newspaper in 3 ways with watercolor–one primarily red, one blue, and one with neon spatters.  I then cut them into 2 x 4 inch pieces and folded them into squares.  I used embroidery floss to sew them together – the back with the threads also makes an interesting piece of art I think.  There are many other different variations I could do with this, both using different papers and different ways of sewing the squares together.  I’ll certainly keep it in mind for one of my monthly grids in the future.”


kblog.blog / methodtwomadness.wordpress.com


Jan Blake

“I came across El Anatsui’s work many years ago at the October gallery in London. I loved their enormity and grandeur from such a humble material and maybe subconsciously some years later I found myself drawn to using cardboard, a material that I could recycle and obtain easily. Curiously, when I went to Mexico to make a sculptural piece for a contemporary dance company, I found that finding and selling-on cardboard for a poor Mexican was a way of making a living! So looking at these wonderful looping hangings I am attracted by the metallic and repeating rhythms interrupted by a fold. There is something Mediaeval about them as well like illuminated manuscripts. With these thoughts in mind I turned to a piece that I had started last year but was uncertain of its development. I have added a second row as it were that twists in an opposite direction like cable knitted jumpers. Ultimately these rows will grow but they are time consuming to complete right now. However I have been wanting to add colour to these structures for a while so here is my trial . Taking the idea of illuminated manuscripts and vaulting on Cathedral ceilings, I have painted them differently on the two sides. The result in some ways is more like an old fairground and the colour only appears as it twists round.”


janblake.co.uk


Phil Gomm

“Whenever I pop over to visit my parents, I’m heartened by the small bowl of toffee eclairs on the table in the hall. On my way back out the door, I always pocket a couple to sustain me on my journey home. The toffees come wrapped in these blue and gold twists of metallicised cellophane, many of which have found their way into the washing machine. Once washed, these wrappers take on a very pleasing patina, exfoliated of much of their original gaudiness and turned instead into these rather more translucent, opalescent swatches. I wondered if I could assemble a few of the wrappers together to produce a very small scale homage to Anatsui’s extraordinary tapestries-come-sculptures. While not convinced I managed that exactly, I found myself instead thinking about geological strata and seams of gold, about crystalline caves and fantastical canyons. I’ve also been thinking… I really needed to eat more of those toffee eclairs!”



philgomm.com


Vanessa Clegg

“This was perfect timing for me as I did a 2 day course in collograph (no experience..total beginner) over the last fortnight and the result seems to fit the prompt. What I was aiming for was a block of specimen samples, the little glass slides that fit into a microscope. Insects and organic-like textures were my subject matter, with a lot of experimenting and, of course, mistakes but for me that’s what makes it an interesting process as the semi-lack of control can lead to surprising and unlooked for effects… More exploration in the future!”


vanessaclegg.co.uk


Francesca Maxwell

“I had many ideas inspired by the wonderful work of El Anatsui. I love the texture and the concept. It must be amazing to see them in person, unfortunately I never have. I watched a documentary about his work and how labour intensive it is and I also love how much creativity he allows his helpers and the curators exhibiting his work.  I am a scavenger myself, and over the many years working in theatre and stop motion animation, I collected all sort of rejected bits and pieces. I particularly love metal and I am fascinated by metal mesh, it looks like shimmering fabric. So I put together a mix of found and bought steel, copper and brass mesh photographed and assemble as a mosaic. I don’t have enough to do a large drape like El Anatsui.”


www.FBM.me.uk


Graeme Daly

“What you are looking at here is the tinfoil leftover from a steak pie, coloured with multicolored markers, photographed, warped and collaged together in photoshop to mimic El Anatsui’s illuminating repurposed sculptures. For scale and grandiosity, I then popped them into an artplacer app.” 


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


James Randall

Of course the message is our environment’s degradation. I have been trying to put together a few key words that encapsulate my concerns but it’s complicated. Let me start by admitting my own guilt: plastic and petrol are still a part of my life. I should have added apathy to my list. Nobody seems to discuss over-population or education focusing on engineering and sciences that enable petrochemical industries (at the expense of arts and humanities, which question our actions…) let alone company (not government only) reparations for years of ignorant profiteering at the expense of the world community – so my few words became several ‘dot’ points. One of the materials that El Anatsui uses is flattened bottle caps – I started my piece by drawing one on computer, then repeated it in on overlapped pattern that reminded me of Islamic art, so I fiddled with the graphic of my list to pursue Islamic text and that set my piece’s style. I think of this work as an environmental incantation.



Charly Skilling

“El Anatsui takes the discarded detritus of modern life – bottle caps, wiring, scraps of aluminium – and transforms them into something that moves and breathes and drapes like the sheerest fabric. I don’t have access to much of that type of material, but one thing I have in abundance is yarn swatches.  I  am always making small swatches to try out a new yarn, a new stitch, a colour combination or just to get the tension right for a new project. Sometimes these swatches get incorporated into a piece of work, but mostly they just sit in a bag in one of my work boxes. I also have some knitting needles that I haven’t used in years, dozens of excess crochet hooks and hundreds of blocking pins. So, a couple of hours of folding, twirling, sticking and pinning later,  a pile of nothing very much has become something colourful and cheerful, which might, conceivably, have occurred naturally in a garden.”



… and courtesy of Charly Skilling, we have our next prompt: the narrative quilts of American folk artist, Harriet Powers. Have fun!



The Kick-About #66 ‘Vesuvius’


In contrast to the sombre and sepulchral offerings of our previous Kick-About together, this week’s collection of new works made in a short time is a more explosive affair. Inspired by Turner’s painterly apocalypse, enjoy the flash and sizzle of our own creative outpourings. Boom!


Francesca Maxwell

My take of an explosion of some kind, more of an emotional kind, I think, so I wanted to feel surrounded by and immersed in it.  Not the beautiful and dramatic rendition of Turner’s Vesuvious one – close enough to make us feel the power of it but from some safe distance. Nor the fireworks we seem to get these days, more noise than light! I used to love watching the fireworks over the sea for Genova’s Saint Patron’s day as a child. It was a glorious spectacle of lights, colours and patterns, mirrored on the water surface – and far enough not to be too noisy. I suppose now we need to be more environmentally conscious with these things as well. Hope you all had a fun weekend!


www.FBM.me.uk


Marion Raper

“It came to mind I had previously done a painting entitled “Volcano”, albeit about 55 years ago!  This was when I was at senior school and the reason it has stuck in my mind… is because I never actually finished it! I had painted people trying to escape, and running away in panic from a volcano, but the thing was the bell rang for end of lesson before I had time to put in their faces!  It was therefore quite a surprise for me to see, about a week later, my unfinished masterpiece hanging on the wall outside the headmistress study! It was even more of a shock when the headmistress herself happened to be walking by, as I stood with my mouth open saying to some friends “Blimey! That’s my picture up there!” She gave me a very stoney stare (which others who went to this same school may vividly remember) and said “Did you mean for all the people to be faceless?” I was always taught that honesty is the best policy so I said, in a very feeble voice, “Well actually Miss I didn’t get to finish it” Wrong answer. Next day my painting had disappeared from the wall.”



Charly Skilling

“When looking at images of volcanoes, I am always struck by the contrast between the life and heat and light and movement of the explosions and the lava flow and the  cold, dark, stillness of the ash and landscape left behind.  I have tried to capture some of this contrast with a freeform crochet, approximately 25″ x 38″. I used  a yarn with sequins for the lava itself, the sequins reflected light giving life and movement  Other yarns, with a fine silver fleck running through them, helped bring a suggestion of light and movement to the more distant volcanic cloud and  the night sky.  The landscape surrounding the volcano is made up of greys, charcoal and blacks, with streaks of fire giving the terrain some definition. Finally, an old tree, lit by moonlight on one side and firelight on the other, stands poised at the moment the first flames begin to lick – on the cusp of flaring into destruction.”



Vanessa Clegg

“1983: I close my eyes. Hearing the crunch of hardened lava… a calcified sea leading into the forest… ascending into the thinning air, straining the lungs, weakening the legs, pumping the heart… progress slowing. Six hours later: emerging into mist, temperature dropping, giant pointed succulents scattered over rubble, light failing, crawling to the crater’s lip, peering into the depths… a stomach flip from the power and scale… molten lava hidden by cloud smoke. Three metal huts… most without floors… just below the peak. Eating out of tins, curling like squirrels into a deep damp sleep… the bass notes of the mountain penetrating our dreams.”


Mt Meru, Tanzania, stratovolcano (last eruption 1910) Walk: 2001. Pen and ink on paper

Nyragongo, Congo, live stratovolcano last eruption prior to walk in1977) Walk: 1983. Pen and ink on paper

vanessaclegg.co.uk


Jan Blake

“For many years I had this desire to go up a volcano on horse-back. The fact I had never been on a horse before was not going to deter me. My dear friend Penny, who died a few months ago in Mexico, was Don Quixote to my Sancho Panza. Jesus and his little son, Simon appropriately led us up the volcano. There was no-one else for 8 hours. So the prompt this time for me was not the blazing furnace of a volcano erupting, but the life-changing experience of climbing this steaming, breathing volcano. It had grown to eruption in 10 years in 1952, enveloping the pueblo and ending abruptly at the altar of the church. From the top you can see across the whole of Mexico and the fault line runs steeply down to South America. When we arrived back to Guadalajara I made this first painting. It was as if the volcano had entered my entire body, so visceral were the feelings. We hardly spoke for hours. Here is that drawing and a detail of the core. I selected out a photo of the volcano landscape itself, so still, silent  and empty on the downward slope, a complete opposite of the Turner eruption and magnitude of its flaring torment. The earth talks to us very clearly. I hope the politicians are listening.  Maybe they should take them up to the top of a breathing earth next time – rather than a mega-rich paradise!”



James Randall

“Way back in 2008 we walked the Tongariro Alpine Crossing in New Zealand – eight hours, 19kms – along the way reaching the top of the still active red crater. A fabulous walk full of fascinating natural wonders- a yellow lake, emerald lakes, areas of snow, waterfalls, steam rising from rocks and amazing colours. When we got home I spotted a photo I had taken of a ridge line which was part of the track and there was a row of tiny people one after the other on it. Who knows how many people walk the track every day, but it would be enormous. I wouldn’t want not to have undertaken this marvel trek, but the impact on nature must be devastating. So my image is of the pleading volcano – I suppose a comment on over population. Also time for a gouache painting I thought. And I was inspired by several of the last Art challenge submissions that took a simpler approach – not that I achieved simplicity here, but I really liked what they achieved!”



Phil Cooper

“Turner’s painting of Vesuvius is so sublime, so epic. I can’t compete with that, so I’ve gone to the other end of the scale – a bit of a damp squib compared to Turner’s fiery mountain. I photographed a fire demon who has lost his mojo. He should be running around causing mischief, but he’s over it and doesn’t quite know what to do with himself; what does a demon do if he’s not wreaking havoc? His demon friends think he’s a loser and ordinary folk run away screaming. He doesn’t fit in anywhere these days. He did go off and get a prospectus from the community college last week, so that’s a start…”


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


Phil Gomm

“A few points of reference going on here: of course, those ash-encased bodies of Pompeii’s unlucky inhabitants, entombed where they embraced by the volcano’s pyroclastic flow, but also memories of watching the news in the aftermath of 9/11, people walking through the city streets, bewildered, made ghostly by their lamina of ash. I sourced some of those little people architects deploy to bring their scale models to life, coated them with a few blasts of hairspray, then rolled them in wood ash from the stove. I was particularly taken by the humdrum poses of the figures and, in some strange way, find the resulting photographs comforting. It’s as if those poor Pompeiians got up off the floor one day and resumed their lives, chatting, flirting, popping down the shops…”


philgomm.com


Graeme Daly

“I was awestruck by the colours of Turner’s painting, especially the light and darkness, and contemplated how the land after the eruption of Mount Vesuvius would have been nothing but dark ash and charred to a crisp, the poisoned, suffocating smoke billowing into the air, the wispy remains of trees, and how the lava cemented the landscape. I decided to comb through the surplus of landscape photography I have of rural Ireland, and gave a whirl to producing apocalyptic, darker hues. Here are some mixed media images created by digitally painting over my photography of those images of rural Ireland.”


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


Kerfe Roig

Vesuvius has always seemed cosmic to me, so I consulted my stash of cosmic reference photos in order to construct some collage.  The third one didn’t work as I originally created it, so I cut it into two—much better.  And when, after doing the collages, I did a little research and discovered that Venus is the patroness of Pompeii, I thought:  perfect!  I’ve also put together five volcanic haiku to make a cadralor.  According to Wikipedia, “The root of the word Pompeii would appear to be the Oscan word for the number five, pompe”.  Venus is also associated with the pentagram, another five.



in search of Venus

1
what season is this?
dark, enigmatic, grown wild–
spilling from our eyes

2
the madness of fire–
consummation and release,
sweeping life away

3
inside opens out
disintegrates unbound–
what was not, now is

4
random lines break down–
the page explodes, caught trembling–
from nothing, vast light

5
the locus that gyres–
gravities of orbiting
become somewhere else


kblog.blog / methodtwomadness.wordpress.com


Gary Thorne

KA coincided with a nice surprise of an abundance of flowers arriving to the house. Try-outs to capture the explosive nature of this group proved difficult, until the rain chucked it down beneath a heavily overcast sky. I simply rotated the vase 90 degrees, trying to capture subtle differences. I find it is with zoomed-in examination that things appear really sensual. Zoom-away to freely discover your own hidden treasures. ”   


linkedin.com/in/gary-thorne


And for our 67th run-about together, feast your eyes on the extraordinary sculpture-come-wall-hangings of the Ghanaian artist El Anatsui, who uses recycled materials to produce huge, sumptuous installations: “Anatsui refers to himself as both a painter and a sculptor. He essentially ‘paints’ and builds up colour and pattern with the bottle-caps – with his works have been compared to traditional Ghanaian kente cloth, Western mosaics, tapestries and paintings by Gustav Klimt…”



The Kick-About #64 ‘Soundsuits’


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


Claire-Beth Gibson

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


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


Graeme Daly

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


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


Gary Thorne

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

       



linkedin.com/in/gary-thorne


Jan Blake

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


janblake.co.uk


Vanessa Clegg

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


vanessaclegg.co.uk


Charly Skilling

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




Kerfe Roig

“I hope we will dream together”
Nick Cave

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


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


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

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



Phil Gomm

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



philgomm.com


James Randall

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



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



The Kick-About #63 ‘Vilhelm Hammershøi’


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


Graeme Daly

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


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


James Randall

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



Kerfe Roig

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


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

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



Phil Cooper

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


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


Gary Thorne

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


linkedin.com/in/gary-thorne


Phil Gomm

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


philgomm.com


Charly Skilling

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



Vanessa Clegg

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


vanessaclegg.co.uk


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



The Kick-About #62 ‘Powers Of Ten’


From the internal and endlessly expansive spaces of our memories, as inspired by our previous Kick-About together, we’re this week exploring the mind-boggling extremities of different scales, courtesy of Charles and Ray Eames’ 1977 short film, Powers Of Ten. Enjoy this latest showcase of ‘new works made in a short time’, the big and the small and everything in-between.


James Randall

“As a youngster I recall the concept of infinity as an exciting concept that had huge at one end and tiny at the other. Then it got a bit messy and I threw in the concept of mother nature as a religion to cover the extremities. I approached this KA as a mechanical exercise where a square is 1×1 of a certain colour, 10×10 are lines across and down in the next colour wheel colour (and I varied the thickness of the lines and added some variation within the colour stop and the opacity to make it a bit more interesting), added another hatching of lines for 100×100 and another for1000x1000. I didn’t go further as this visual started to grey off. I then repeated the exercise with sets of adjacent squares and lines with an increase in colour wheel increments as I went along. Finally I went back to each layer and slightly messed up each layer either by moving or resizing them. Not unpleasant but meaningless.”



Vanessa Clegg

“Initially this flummoxed me despite loving the film… how do I react visually? Then, eureka,I realised the drawing I’ve been ,on and off, working on since lockdown would ‘sort of’ slot into the micro/macro thing. The idea behind it was based on my calendar where I diagonally cross off each day (otherwise I’d be walking in circles) alternating direction as I go. The gessoed board was divided into a tight grid so the lines filled each square gradually building a pattern which subconsciously reflected the curtains of my childhood home (weird. Anyway leaving areas clear or less worked and stepping back it becomes the. sky..no planes..no birds…silence…as I remember the atmosphere of 2020. Micro/macro.”


Pencil on gessoed board stained with blue oil paint. 4’ X 3’ (right hand section still being given final layer)

vanessaclegg.co.uk


Gary Thorne

“The camera distance to the mirror surface is .0003 of a kilometre, the distance from mirror surface to the actual object is 150.56 million kilometres, hence it being a blurry object, and the time of day is 14:16 with a current temperature of 25 degrees celsius.”    


linkedin.com/in/gary-thorne


Charly Skilling

“Whilst thinking around the film ‘Power of Ten, I came across some images of the cellular structure of a sunflower’s stem and of sunflower pollen under the microscope. These images reminded me of  some  odd yarns  in my collection and all of a sudden I found myself building the various layers of a sunflower from  the centre out.   Like Topsy, it just grew and  grew, and by the time I had reached the countryside surrounding the sunflower fields, I had to call a halt. It was the opposite of disappearing down a rabbit-hole – I was in danger of disappearing into outer space! Great fun, though, as always!”



Phil Cooper

“I really enjoyed watching the film by Charles and Ray Eames, it took me straight back to my ‘70s childhood and adolescence, pre-internet, when occasionally I’d stumble across films like this on the TV and it would blow my mind.

Powers of Ten got me thinking about scale – albeit in a much more modest way than in the film – and I used some sketches I’d made of a clump of sea kale I’d photographed on Dungeness to make an image about a wood in late summer. I layered a couple of sketches and the plants started to look more like trees, laden with fruit. As the sea kale was growing right next to a nuclear power station, a radiation leak could turn them mutant, just like in the films, and they would grow into giants, so that the pea-sized seeds on the original plant become as big as apples.”



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


Graeme Daly

“This film made me think of how minute our little planet is, and wonder about the possibilities of life many light years away. I wonder what those other planets could look like and the beings who inhabit them? I decided to create some nebulas using the textures from a previous exhilarating Kick-About and stamped them onto simple 3D spheres, superimposing them atop those same textures, while painting galactic elements to create milky ways that possibly maybe could be…”


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


Marion Raper

“This amazing film by Charles and Ray Eames reminded me about the relatively recent invention of the James Webb Space Telescope (JWST) which is able to see further back in time than any other telescope has been able to.  It was originally designed to study some of the universe’s oldest galaxies and has a mirror that detects molecules such as water, CO2 and ammonia in the atmosphere of distant exoplanets, and the ice and dust that form stars, planets and comets. Scientists say studying these molecules and learning more about the chemical reaction that happens in these places will help us to understand how planetary systems form. This information could also tell us if the conditions for life are unique to our solar system. My collage artwork this time is an attempt to capture a view from JWST of a far off galaxy thousands of light years away.”



Kerfe Roig

“I enjoyed the video, but I really have no coherent explanation for the thought process that led me from there to here. I do know I think in circles, not boxes, when considering time and space. And it was such a bombardment, I felt I needed to be minimal. I used a variegated grey thread to try to create some shimmer. For my pantoum, I took part of an old poem about zero and combined it with words and ideas I wrote down from the narration.”



zero, or: without limits

the direction is lost–
distances traveled
waver and shift–
perspective changes

distances traveled
approach and return–
perspective changes,
light years converge

with approach and return,
darkness increases–
light years converge,
explode

darkness increases,
becomes empty,
explodes
into energy

becomes empty–
a transformation
into energy
at the center of nowhere

a transformation–
invisible, uncoiling
at the center of nowhere
inside time’s pocket

invisible, uncoiling,
wavering–shifting
inside time’s pocket–
the direction is lost


kblog.blog / methodtwomadness.wordpress.com


Tom Beg

“This Kick-About submission ended up with a lot false starts and the remains of ideas scattered amongst the bits and bytes of a computer hard drive. A downfall of my own making perhaps. The deceptive simplicity of the depiction of scale and movement in Powers of Ten combined with the retro graphic design-ness of the imagery has always appealed to me, so in the end I just tried to tap into that and make something that appeared to be at once microscopic, abstract and graphical.”


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


Colin Bean

After a bit of research into the works and inventions of the Eames, I put together something from the prompt film (space/movement) and married that to one of the company’s products – in this case, a deck of building cards. This deck consists of 45 cards, in nine sets of five sequential images. Each set starts with an image, then, from the same distance point, zooms in the five times until it ‘disappears’. As for the initial images, they are simply a record of what is in ‘spaces’ in the house, in cupboards or drawers…

For the backs, rather than a single icon, it’s more like the heavens of the original film, at least that’s where the idea came from. The photographs were not edited, so each sequence of five represents a single event. Each image was stuck onto ready-made blank playing cards, then laminated with transparent plastic and each one trimmed. The same for the backs. I don’t own a laminator but did invest in a cunning little hand-trimmer that rounded the corners. As for the cuts in the cards, they are not particularly beautiful and done with the help of two bits of wood marked with a 1cm line, two ‘G’ clamps and a junior hacksaw.

This Kick-About prompt was one which gave me lots of practical problems to solve in order to visualise what I had set out to do, and like so many ideas, this was one percent inspiration and ninety-nine percent perspiration! For all that it was very satisfying and fun to be able to use them for building structures as originally intended.”



Phil Gomm

“So this one takes a bit of explaining! Short version is I wanted to produce something that got into the visual rhyming between the cosmic and the microscopic you see in Powers Of Ten, and likewise the graphical quality of its art direction. For The Kick-About #46, I subjected everyone to macro-photographs of the human litter dusting various surfaces in my home. I decided to use these same photographs as the starting point for my response, and started by spherizing them digitally (over and over again), so as to produce ‘planets’ from them (or molecules?). In part, I was prompted by another Kick-About, and this time was able to produce these little animated loops by running each of the photographs together to make footage, in which the effect of spherizing the original photographs multiple times has been too soften their respective surfaces into these seemingly ‘hand-drawn’ sequences. To emulate some of the ‘maths’ in the Powers of Ten, I then composited some concentric circles over the top of these animated loops. I don’t really have a final outcome, so what I’ve gathered here are a collection of results. They might be particles or elements of some periodic table, or eggs, or maps, or other sorts of diagrams, but it was a lot of fun engineering them from a largely automatistic approach to ‘seeing what happens’.”




philgomm.com


And so, from the infinite bounds of the cosmos and abstractions of innerspace to the pensive domestic subjects that feature in the paintings of Danish artist, Vilhelm Hammershøi. Have fun and see you on the other side.



The Kick-About #61 ‘I Remember’


Our last Kick-About together was a celebration of the idea of tea-making, tea-drinking, and its various rituals. Without this activity, with its powers of comfort and displacement, I wonder sometimes how we would otherwise negotiate some of life’s disappointments, large and small. Disappointment is one of the themes of Molly Drake’s I Remember, and it is Drake’s delicate, if devastating song that has this week inspired us to produce new works in a short time.


Marion Raper

My story begins with our family holiday to Dorset. It was probably early 60s and I think we were staying in Swanage. We were usually quite lucky with the weather, but it was not to be this time. As we had no car then, my parents decided on taking a nice coach trip to Lulworth Cove which was a famous beauty spot not far along the coast. My sister and I wore our summer dresses and warm hand knitted cardigans, as it was getting a bit chilly, but when we arrived at our destination the heavens opened and rain looked likely to be set in for the rest of the day.

‘Quick – let’s run up to that beach shop’ said mum. ‘We’ll buy something waterproof there for you both.’

My heart sank, as I could see at a glance it was a typical seaside shop that sold everything from buckets and spades to thermos flasks, and Mary Quant it was not!

So in we went and the kind lady behind the counter said, ‘I have the very thing – plastic macs!” My heart sank even further. She proceeded to pull out a white one for my sister, which had a small plastic headscarf, and as she was 4 years younger than me, it looked quite cute. However, despite a long search, there didn’t appear to be another in my size. Hooray!

Then just as I thought I had escaped, she found another bigger mac tucked away beneath the rest and, horror of horrors, it was luminous pink! I mean ‘day glow’ and ‘get your sunglasses on’ pink. (I know the sixties fashion was all about these bright colours, but this must have been very much a forerunner!). Even worse it had a matching hat, rather like an upturned flowerpot, that tied under the chin.

‘That’s just the job!’ said mum.

I spent the rest of the day skulking along the shoreline, trying desperately to hide amongst the overturned boats, but there was no way I could disguise myself; if I had stood on some rocks, I could have done a turn as a lighthouse beacon!

So that is my memory of Lulworth Cove, which is a place of peaceful serenity and muted beauty to many, but all I remember is psychedelic misery!



Charly Skilling

“The source of much pain (for the individual) and much humour (for the group) lies in the gap between one’s aspirations (or expectations), and one’s achievements. This is particularly true when we are young and in love. We want to be ‘soul-mates’ with our loved one – to share the same experiences, the same emotions, the same memories. Alas, it is rarely achievable. We recognise Molly Drake’s pain, because we have felt it too. But it also raises a wry smile. For we have learnt, as we grow within a relationship, that no two people experience any shared event in the same way. So we adjust our expectations accordingly.

By the time we have aged within that relationship, we come to recognise that it is an achievement for any shared experience to be remembered by both of us at all, without several minutes of dispute over location time of year, weather, and reason for being there. And why is it that I find I cannot remember the name of a place, I cannot remember how to get there, or why – but I can remember exactly what we ate and the colour of the waitress’s nail polish? What’s all that about?”



Colin Bean

“This one was a bit of a late starter for me. Having given some early thought to it and tinkered with water colour washes as a response to the words, the result didn’t quite live up to my expectations . Initially I was thinking in terms of printed textiles based on the stanzas and 1950’s, but a few scribbles and doodles confirmed that wasn’t ready to work for me. So it rested until almost the deadline and, as a final go at it,  I tried cutting up the original into sections  and rearranging in an effort to express the ‘you and me ‘ idea. That practice put me in mind of putting together a shade card.

In this one, ‘me’ is represented by colours for Molly’s words. ‘You’ are the stencils that stand separate until used on Molly’s colours, and that combination can be read as the ‘we’… though here, as in the poem, the two together do not represent a happy ‘we’ of Molly’s expectations.

The card is done from scratch and the colour swatches are gouache and then laminated. The script is traced from the text using a Word font. The miniature stencils are handcut and pierced oiled card. Yet another very interesting  Kick-About for me and a real challenge to express an ‘abstract’ visually.”



Vanessa Clegg

“Both of these pieces come under the headings of love / regret / romance and memory, all of which are sparked off by this prompt…”


“Goodbye to all that” oil on gesso on board. 60cm X 60cm

“Always” Stitching on old handkerchief and oil paint on waxed paper

vanessaclegg.co.uk


Graeme Daly

“Molly Drake’s words brought a tear to my eye, how such a poet can write something so striking about the melancholic juxtaposition of both light and dark. It brought back memories of people that have come and gone out of my life but also the places where those memories and faces come bubbling up when passing in a car or walking past a particular patch of land, like reveries of times I will never forget.”


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


Phil Cooper

“What a wonderful song by Molly Drake, and so beautifully sung. This piece of music is like a faded old photograph, looking back at a bittersweet time, the little vignettes of holidays and days out are achingly nostalgic.

I’ve been on both sides of the dynamic expressed in this song at one time or another and either position is just grim and sad. I did some sketches this week in response to the prompt about a weekend trip with one of my first boyfriends over thirty years ago. We stayed in a guest house and went for a walk to a beautiful waterfall nearby, It should have been a carefree, loved-up, fun few days, full of laughter and lovemaking, but I’d reached the point when I realised I didn’t want to take the relationship much further but my boyfriend did and we separated soon after getting home.

This waterfall makes me think of that lost weekend. I wasn’t really mature enough at the time for a serious relationship; it would be some time before I was emotionally grown-up enough for that . I hope that boyfriend is happy now, wherever he is. He was a lovely guy.”


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


Phil Gomm

“You might consider this a sequel of sorts, as back in March 2021, when Ole Worm’s cabinet of curiosities was our collective muse, I photographed and catalogued a selection of my own keepsakes, the emotional importance of which I couldn’t actually remember. Molly Drake’s ‘I Remember’ isn’t so much about the fallibility of memory, but rather the different ways in which we remember the same thing. Drake’s song also captures very truthfully how the significance of something can be quite wasted on someone else – even those closest to us. With this in mind, I turned my attention to some of the objects with which I share my home, but with which I have no emotional association, but which resonate very powerfully with my husband. I see a rather retro-looking glass paperweight, while my husband experiences a Proustian rush returning him at once to the comforts of his grandparents’ home and all the love he found there. There are objects collected here the provenance of which is still unknown to me, and their emotional heft as mysterious, but ‘he remembers firelight’.”


philgomm.com


Gary Thorne

“Back to jugs. Hoping a narrative might be staged within a shared space, in order to portray intimacy and separation and where the suggestion of alternate ‘points of view’ (that which each jug points to) draws a parallel to Molly Drake’s poem. Respecting the natural linen and pencil line seemed the right approach in order to deliver something feeling a little more natural than a paint saturated canvas at 30x30cm.”


linkedin.com/in/gary-thorne


Kerfe Roig

“I wasn’t aware of Nick Drake’s heritage, but Molly’s song immediately made me think of ‘River Man. I took the feeling I got from both songs, and made a prose poem, then some art to accompany it.”



Fragmentations

She did not remember the way, but she remembered the times, the place. She wanted to connect present to past. She did not know how or where to begin, and yet she needed to try to construct that bridge. Words were all she had now.

Two ways, really, even though she always pretended they were the same. Or maybe it was only her longing that failed to understand that they were two, not one.

She had been dreaming of a river. A man, a boat. Trees, weeping, or was that her own voice, crying on the wind? It had been summer once. Flowered. Sweet.

But here was the river again, littered with fallen leaves. What magic word would turn back the seasons, dispel the haze, repair a lifetime that had already disintegrated into dust?

Was she coming or going? In her dreams a voice kept repeating you have to choose. But between what? Who? Did she get to choose who would be waiting on the other side of the river? Or was she to be the one left waiting?

kblog.blog / methodtwomadness.wordpress.com


With thanks to regular Kick-Abouter, Tom Beg, we have our latest prompt, the short 1977 film Powers Of Ten, directed by Charles and Ray Eames.



The Kick-About #59 ‘Augustus Osbourne Lamplough’


Our last Kick-About together was fired off by the super-saturated decor of Henri Matisse’s 1908 painting, Harmony in Red, also known as The Dessert. As Vanessa Clegg observes, there is but a small difference between the word ‘dessert’ and ‘desert’, but a whole world of difference between Matisse’s spatial effects and use of colour and those distinguishing the paintings of Augustus Osbourne Lamplough. With Lamplough’s evocations of exotic landscapes as our muse this week, enjoy this latest collection of new works made in a short time.


Jordan Buckner

“The magic of Lamplough’s work is all in the soft, low contrast haze. He managed to capture those dusty, golden hour landscapes with a gentleness and calmness – a painting that feels barely there. My own contribution isn’t quite as calm – perhaps a little more sickly, but an exploration at least of the similar, low contrast magic landscape.”



“One process I often use to get a composition off the ground, is to take my old paintings and remix them. I collage and collide them together to create new forms, compositions and colour harmonies. It all feels a little mad and chaotic but it is the only way in which I can find some spontaneity in the digital medium.”



www.jordanbuckner.co.uk


Tom Beg

“I love the mirage-like quality of the African desert paintings and was instantly reminded of fata morganas and mirages in endless landscapes. With that in mind, I just had a bit of quick fun with some minimalistic desert imagery and a simple impression of mirages. Are they distant columns of lights? An epic oasis city in the desert? Or merely just a trick of the camera lens?”