The Kick-About #44 ‘Double Gong’


After the pudding-weight of festive expectations associated with our previous Kick-About, Alexander Calder’s light-weight dance of shape and colour sends us turning gently into the new year, with another showcase of new works made in a short time by a loose group of artists with homes all over the world. A happy and transformative 2022 to all of you!


Phil Cooper

I loved the prompt this week. I’m a big fan of Alexander Calder’s sculptures. By happy coincidence there’s a big exhibition of his work here in Berlin right now at the just-refurbished Neue Nationalgalerie. Quite how I came to write such a story in response to the beautiful, elegant mobile in the prompt is a bit of a mystery. I think too many mince pies and liqueur chocolates over Christmas sent me a bit funny!”


You can find a PDF version here


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Phil Gomm

“I love Calder’s work and wanted to build some similar whirling thing in my house and then seek to capture ideas of movement, flight, shadow and light in some kind of photographic response. At first, I settled on the idea of producing this impression using virtual components only, building some Calder-inspired shapes in Photoshop and then using them to produce a snapshot of their imaginary interactions. I’ve included two of those attempts here…”



“… but then, I happened on a much more lo-fi opportunity, resulting from my husband’s impressive consumption of Quality Street chocolates over the Christmas period; Quality Street come wrapped in these lovely squares of coloured cellophane, which my husband turned into an ad-hoc garland hanging down from the mirror – in glorification of his gluttony! Suspending the streamer of sweet wrappers from the ceiling, I set out about photographing it from below – lying on my back on the floor and framing the shots to avoid the presence of the cobwebs and the smoke detector! I enjoyed very much the water-colouresque results in all their floatiness, and I’m tempted to draw some conclusion here about the routes towards inspiration being found more-often-than-not in the realm of more analogue activities.”



Marion Raper

“Have you ever spent a long time thinking something was going to be rather difficult to achieve? However, when you actually begin, you find it is a lot easier than you thought? At first, I deliberated making material into dangling swirls, then I tried something using beads and twisting them, and finally just went for it with good old card and scissors. Result! Fingers crossed 2022 will go just as easily for everyone! Happy New Year!”



Kerfe Roig

“Once again, I had an inconclusive result, but now I know how to get closer to my original idea, had I time – and a spare wastebasket! One thing I really like about these challenges is the ephemeral nature of them; this will exist only in photos, but it may lead to other more permanent installations, who knows?  It’s always fun to try new things. The metal in the Calder mobile reminded me I had a fish mobile/wind chime made of recycled spoons that my brother had given me years ago, which I never could figure out how to hang correctly.  So I took it apart, traced the fish, painted watercolor paper in primary colors, and made more fish.  I used a hole punch to make eyes, and simple cotton thread to hang them. I had an idea to use an embroidery hoop and circle the fish around it at different heights, but I didn’t think of the wastebasket to hang it in until after I had attached the fish. I think if I hung the hoop over the wastebasket first, and then attached one fish at a time, I could get a better, more balanced result. Another problem was no sun for the entire week; I tried three different lightings to photo it, but natural light, I’m sure, would have been much more satisfying. But they did move and the metal occasionally chimed, so a definite improvement over the original set up, and I like the interaction with the mesh of the wastebasket too.”


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Vanessa Clegg

“Thank you Gary, this was a terrific challenge! One of the many things I love about Kick About is that it winches me out of my usual way of working and into the arena of experimentation. Many failures, but what the hell. It’s fun and can sometimes lead to an opening up in my work. Happy New Year everyone! Some wire drawings… celebrating 2022, (we can only wish).”


vanessaclegg.co.uk


James Randall

“Three deep breaths and I jumped into the festive season with some Calder focus padding. Minimal thinking involved when I read about the gongs in the piece sounding only rarely, and that this unexpected element was what one audience member regarded as the key. I had just made my Gerry a gif festive greeting for his correspondence, so I made a few more for KA, but they are too short for the final frame to feel rare, but hopefully they are cheery. Hope you all had a lovely couple of weeks.”



Charly Skilling

When looking at Calder’s “Double Gong”, I couldn’t help wondering what shapes and patterns it might make with a loaded paint brush attached to the end of each arm, then set against a huge sheet of paper, and set spinning. And that got me thinking about my stick.

To help me get around, I use a metre-long white stick with a ball on the end. This I roll back and forth across the path in front of me, (a bit like a minesweeper!) to alert me to bumps, potholes, changes of texture, kerbs and so on. I considered using a huge piece of paper and a pot of paint, and rolling the paint across the surface with my stick, but soon dismissed this as unlikely to result in anything which conveyed much to anyone (or even me).

So then I started thinking about what the stick conveys to me and how it conveys it. So much information travels up from the ball through the stick to my arm and brain.the ball vibrates differently on different surfaces; it can flow smoothly over some surfaces or jump and jerk over others. It will sometimes catch on a raised paving slab or unsuspected step and stop with a suddenness that sends a shock wave to my shoulder. And sometimes the ball slides away from me down an incline or steep camber. The friction between ball and surface also makes noise that forms a constant background to my walks.

So I fixed my camera/phone to my cane (with a bit of help) and went walkabout. The resulting raw video provided some interesting sounds and images and, with another bit of help, I can present ‘Stick and Ball’.”




Graeme Daly


“When I saw the colours and shapes of Calder’s mobile, I was reminded of the seventies, and I have always been in love with mid-century architecture, so itching to do some environment art, I drew a house surrounded by Calder’s colours and shapes.” 


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Gary Thorne

“Happy New Year to all. Tried creating a still-life mobile, hoping to better view ‘variations on a theme’ in support of being freer with composition when painting. Well that failed! Rethinking demanded reusing again these miniature cut-outs in a 3-D manner. How I wish magic powers could float objects where ever they are placed in space!”


linkedin.com/in/gary-thorne


With many thanks to Japan-based Kick-Abouter, Tom Beg, we have a new prompt to carry us into January, the alchemical Splendor Solis



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.”


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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.”


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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


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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…”


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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…'”


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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.”


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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 #41 ‘La Ville’


From the ephemera of the last KA’s flowers of fire, to the more concrete energies of Fernand Leger’s La Ville, it’s another showcase of new works made in a short time by an eclectic group of creatives. We have ‘all sorts’ of different work in the mix – and quite literally this time too! Happy browsing.


Tom Beg

“I wanted to create an abstract image that conjured up the feeling of climbing some obscenely huge tower and looking down on the endlessly sprawling megalopolis below.”


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Vanessa Clegg

“I don’t know why, but Léger’s work reminds me of liquorice allsorts, with a touch of fuzzy felts (remember them?) thrown in… So I spent an enjoyable afternoon playing with sweets, attempting to recreate something vaguely Léger-like, at the same time gobbling the residue – eating the art! Can’t recommend it highly enough!”



vanessaclegg.co.uk


Kerfe Roig

“A collage with words.”



The City (after Leger)

In the beginning you can divide the questions
into a multitude of forms.
For your second act define your journey.
Offer your voice to the silence of light.
Remember to open the secret red door.
Do you know why?
It’s too early to be the end.
Simple, really.


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Marion Raper

“My daughter had the good fortune to go to the premiere of the film, House of Gucci, in London recently. Whilst watching the stars parade down the red carpet, she took a fabulous photo on her mobile. It captured Lady Gaga walking through a forest of mobiles held aloft, and with the city lights all around.  I thought this was such a great shot and would be just right for this Kick-About. I did a watercolour sketch first and then transcribed it into cubist terms.  How times have changed since the times of Leger!”



Charly Skilling

“I do not share Léger’s delight in modern cities, In fact, the aspect of British cities I most enjoy is the eclectic mixture of architecture from throughout the centuries. Here you are very likely to find long-established shops housed in medieval buildings, sagging gently against a some tall, stern, corsetted Victorian hotel, which is itself being eyeballed by a 1960’s concrete office block. Leger wrote to a friend, ‘I am still constantly astonished by the vertical urge of these people drunk with architecture. From my room on the thirtieth floor, the night is the most astonishing spectacle in the world. Nothing can be compared to it… This city is infernal. A mixture of elegance and toughness.’

I am trying to capture, in crochet, that spirit of a night time cityscape. It is a work in progress, but I started with sketches, then collage, and then began recreating some of those images in what will eventually be, (I think), a five-panelled piece of work. As you can see, there is a way to go!”



James Randall

Léger may have lived in an exciting time when cities were evolving rapidly with new industries and styles emerging – and I do love a new architectural design device today but, after the last year and a half, cities have lost a lot of gloss for me. In my KA submission I used building facade photos to recreate the Covid 19 virus model from the CDC and popped a little fiery hell below it. Looks fairly cheery to me!



Phil Gomm

“I took this photograph in Katowice, Poland, on the first of my two trips there in 2017 and 2019 respectively. My reason for visiting the city was on account of my collaboration with the orchestra there. This particular image was taken on my first visit, on a bright winter’s afternoon, as I explored the city in the gap between rehearsal and performance. Léger’s painting reminded me of this image, something about the absence of any horizon and all those vertical stripes, the prompt sending me back to my archives for a rummage.

The association made, I set myself the task of using this one photograph as the only element in a digital collage, re-sizing it, layering it, rotating it, slicing it up, and then building it back together again. Different layering combinations soon pushed out different colours, and ultimately, different cities, or rather the same city at different times of the day. In common with so many of these Kick-About challenges, I find restricting my available resources to be an effective way of getting into making different types of work.”




Phil Cooper

“Léger’s love of the city is evident in his painting, La Ville. It hums with the energy and activity of the ever-changing urban landscape. Everything in the painting looks on the move, new structures are rising up before our eyes, while others are being knocked down to make way for yet more construction.

I live in Berlin, a city with a unique history and a place that’s had more than it’s fair share of destruction and renewal. The life of the city here has ebbed and flowed like the tide, dying down and growing up again dramatically over the last hundred years or so. I’ve been out sketching recently, taking a little folding stool out into the neighbourhood where I live, drawing and painting quickly (because it’s so chilly here at the moment!), responding to the strong shapes of the architecture and the frequently shifting landscape of the streets.

This sketch for the Kick-About is of a ruined old building that was part of a factory complex. Not that old, but derelict and dead, waiting to be cleared away for something else. It was a great subject to paint, probably more interesting than the bland blocks of flats that will undoubtedly take its place soon. Léger celebrated the shiny energy of the new, but I’ve been drawn to the melancholy of the city that is disappearing.”


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Graeme Daly

“With Léger’s La Ville being inspired by the city’s urbanisation I decided to mimic the feeling of constant change. Gritty photos taken on the streets of my current stomping ground in London are meshed together in a smorgasbord of shapes, colours and texture, to highlight the building up and tearing down of the fast paced concrete jungle.”


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Thanks to regular Kick-Abouter, Phil Cooper, we have a new prompt, Andy Goldsworthy’s Ice Spiral, which is surely a secret wish for the magic of winter and other transformations. Have fun, and see you back here in December.



The Kick-About #40 ‘Flowers Of Fire’


After the gothic shadows of our last Kick-About together, how about a bit of flash, dazzle and colour? Inspired by the delightful illustrations from various collections of Japanese firework catalogues, the Kick-Abouters are lighting things up with a vibrant display of new works made in a short time. Whizz bang ooh ahh indeed!


Marion Raper

My first idea for this wonderful topic was to do some machine stitching on paper, as I thought I could get some exciting and interesting firework patterns with this. However, my sewing machine had other ideas and although I have used this method before, my needles kept breaking and I had to opt for plan B – hand stitching. First I used acrylic inks as background and then added various threads, sequins and oddments from my stash. As I sat sewing it came to me that life is like a firework! It starts off at great speed, happy, colourful and joyous, then there’s a bit of brilliance and sparkle and it finally shoots off into the heavens with a giant BOOM!!



Graeme Daly

Graeme:  I do have this massive piece of glass that was taken off a neighbour’s shower… it stands perfectly by itself, so I’m going to haul it into my room and give it a whirl for more experiments.

Phil: Don’t die.

Graeme: I’ll try!  I see why you love this practice so much. It’s so much fucking fun! I got lost in it. 


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James Randall

“For some reason when I initially read the prompt list a lot of flowers types were in it (in my old persons head!) – so I worked with building photos and added flowers and water pics (from the archives) and Japanese type in a square format, but I had killed off any vitality. I ditched the type and changed the format to 1:3, and eventually lost the building layer. Also accidentally rotated the pic to portrait. I think it improved the piece.”



Phil Gomm

“This prompt got me thinking about ways I might make fireworks my photographic subject without burning down the house in the process! I settled upon an equivalent phenomena that shared both the ‘rainbows’ and ephemerality of fireworks, filling a large white bowl with water and lots of washing-up liquid, and setting about blowing large heaps of bubbles. I was able to focus on, and through, all the multiple planes of the bubbles, which I soon learned produced these nicely ‘explosive’ qualities. I was reminded of the moments just after a rocket explodes, so not the big sky-born chrysanthemums, but the petering out of the last few sparks against the smudges of smoke. I took a whole bunch of photographs, always trying to find the next most expressive composition, and all the time racing against the inevitable popping of my soapy installation. Even as I was happy with the resulting images, I felt pulled towards getting into the explosiveness a little more, evoking the sights and sounds of a firework display, and so putting some of these images to work. The short film ‘Whizz Bang Ooh Aah’ was the result of trying to do just that.”




Kerfe Roig

When I looked through the fireworks catalogues at all the different images, it made me think that the artists were trying to project their dreams into the sky.  Visions of wishes and magical things.  As usual, the collage turned out very differently than I imagined it, but I think it captures the spirit of what I intended to do.



fireworks

you dreamed without beginning–
breath, stars, flowers
of light

you were happy to hold
hands with what was
not there

you closed your eyes and sang
from the inside, way down,
like flying,

listening to your heart beating,
rearranging the pattern
into constellations

you released what you had not
seen—you gave it away
without thinking

you dreamed with your arms open
and became entirely unafraid–
spilled over


kblog.blog / methodtwomadness.wordpress.com


Phil Cooper

I really loved the Japanese firework illustrations for this prompt, they’re so controlled and carefully arranged; the opposite to what I think of as a firework going off, but they work beautifully. I’ve played with some photos I took a few weeks ago at the Britzer Garten in Berlin, where there was a fabulous display of Dahlias glowing in the autumn sunshine. The flowers were so firework-like, the colours so bright and hot, I really fell for them. We don’t have bonfire night here in Germany, so the Dahlias will have to do for me this year!


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Tom Beg

“I was immediately struck by the simplicity of the illustrations, and how a few simply arranged shapes and colours could represent the forms of fireworks so well. I wanted to create something complex from something very simple and immediate, so I whipped up some very basic animation loops and then duplicated and rotated until some suitably cool looking abstract effects were generated. From a vertical orientation they remind me of fireworks shooting up into the sky and scattering in the atmosphere.”



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Charly Skilling

“I didn’t think I was going to be able to contribute to this Kick-About because of time constraints, but I found I kept remembering the firework nights of my childhood (which, as you may already know, was a very long time ago!). In the end, the only way to get these memories out of my head was to put them down in words. Hopefully, it may trigger a memory for those of you old enough to remember, and for all the others, think of it as an example of the 1950’s English family at play. Weird or what!?”


You’ll find a PDF version here.


The last time painter, Fernand Léger, featured as a prompt for the Kick-About, we were treated to a mouth-watering display of food, fruit, and flowers. For our next creative departure, our destination is Leger’s 1919 painting, La Ville. Enjoy your city-break!



The Kick-About #39 ‘The Children Of The Night’


Our last Kick-About together was kicked-off by the cut-outs of Henri Matisse, and specifically his White Alga on Orange and Red from 1947. Inspired by one of Matisse’s less well-known cut-outs, regular Kick-Abouter, Kerfe Roig, treated us to something with touch of Halloween about it – a trio of rather dashing devil masks, and a foretaste of this week’s showcase. With dialogue uttered by Dracula himself as our starting point, it’s little wonder things have taken a spookier turn…


James Randall

“One of those Kick-Abouts that seemed to have a life of its own. The colours were fun to try to control.” 



Vanessa Clegg

“Based on childhood nightmares this is a painting I did a while ago but by re-photographing the unmounted slide, it could become a still from a seriously spooky film…make up your own narrative!”



“All I can say is that it’s a classic thriller/horror trick of dark shadows, tangled forest, mounting soundtrack, being lost, sense of being watched… Whaaaaaa!”


vanessaclegg.co.uk


Graeme Daly

“Some painted over photographs from a forgotten forest in Ireland. Inspired by the stagnant stillness of nature in the night, where no street lights are seen, and only the little tufts of smoke from chimney spouts signify life. The thick fog and heavy mist hiding and shielding much of what you should see, like a visceral view of brain fog. But still, our imaginations would always be lit, ablaze.”


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Tom Beg

“Without knowing where the quote for this week’s came from my mind instantly jumped to Victorian-era gothic fiction and ghostly visions and apparitions. With perhaps the help of some otherworldly spirits guiding me, I got a nice little phantasmagoric effect going in the same kind of magic lantern ad hoc way the horror theaters of old used to employ.”


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Phil Gomm

The prompt comes from Bram Stoker’s Dracula – the count is talking about the baying of the wolves beneath the moon, but I was never truly scared by vampires and the like. This was due in part to my fascination with the nuts and bolts of horror – its trappings, its effects and its preoccupations. The early horror actor Lon Chaney, was known as the man with a 1000 faces, on account of the ways he transformed his face for his performances in films such as Phantom of the Opera (1925) and London After Midnight (1927). Inspired by Chaney’s lo-fi monsters and the lurid short stories of the Pan Book Of Horror, I set about producing a series of self-portraits.

The way in which the resulting images were produced involved conscious use of my webcam, as opposed to my digital camera, courting the particular effects of low-light levels and low-resolution. I was going for something nostalgic, what it was like as a small boy catching glimpses of disturbing things on small, poorly-tuned black and white televisions. I wrote the captions to further enrich these imaginary moments, ranging across a host of hoary old tropes and cliches familiar to me from those wondrous Pan Books of Horror and countless old movies. That said, for all my obvious enjoyment in producing these portraits, one or two even left me glancing uneasily over my shoulder…”



You’ll find a larger PDF here.


Phil Cooper

What a juicy, exciting prompt this week! Children of the Night is such an evocative theme. For my contribution, I’m submitting work I made a few years ago, but it’s something that has never seen the light of day, and I thought this Kick-About prompt was a good occasion to give it an airing.

I’ve written here before about some design work I did for a touring stage production of Hansel and Gretel back in 2018. Working with director Clive Hicks-Jenkins, the overall concept for the staging involved using children’s toys and building blocks to conjure environments and scenery for the action performed by two puppets.

Before we arrived at the final approach, I played around with some other ideas, most of which were discarded once we had nailed the shape of our vision. The idea I’m submitting here focused on the witch’s cottage, traditionally made of sweets to entice the starving children into the witch’s clutches. Simon Armitage had written a wonderful text for the piece that provided a rich, dark re-imagining of the traditional tale, with a contemporary edge to bring the story up to date. One of my earlier ideas for the cottage involved incorporating sweets into the architecture, but to depict the confectionery as rotting and putrefying. The witch in Simon’s tale is a rather desperate creature, half-blind and cack-handed, and she hadn’t kept on top of the window-dressing designed to entrap lost children.

I made a model of two stone gate posts, the entrance to the cottage garden, topped with a couple of rather mouldy-looking liquorice allsorts. The images here include the original sketch from my sketchbook, the models, and some test shots on a table top environment of the witch’s garden. It was all good fun, even if the idea never took off. I did make loads of fake gingerbread cookies, which we used in a filmed animation sequence, so the concept found its way into the production in the end.”


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


Marion Raper

“I find ruined churches and in fact any type of ancient architecture fascinating and love imagining how people lived there and who they were. The fact that when night came and the only light was from candles and fire must have been so scary.  No wonder everyone believed in spirits, ghosts and demons.  Added to that would be the earie sound of wolves howling.  Such clever animals and necessary for the ecosystem. I hear they may even be reintroduced . Hopefully not Dracula as well!”



Kerfe Roig

“I was thinking about this prompt when I found some monoprints in neon colors that I had never finished, being uncertain where to go with them.  I wondered what would happen if I covered them in drips and spatters of spirits and night… And then I wrote something to accompany them.


Children of the Night

There’s a dark path in the forest that reaches not only to the horizon but far up into the stars in the sky.  The contours float, infused inside and out by an endless melody that sings chaos into shimmering pattern.

Where does the story end?  Perhaps it leads to dreams that have been hidden away, to possibilities invisible in the light of day. To once upon a time that becomes here and now.

If you listen – still, silent, boundaried by the night – it’s possible to catch a glimpse of these distant voices. But only a child can find the entrance to this liminal landscape of matter, spirit, and sound.


wonder shines
silvered, transcendent –
opening


kblog.blog / methodtwomadness.wordpress.com


Chris Rutter & Evelyn Bennett

Here is the latest effort. A cut-up poem from the text; ‘Listen To The Music’.”


rutterandbennett.com / instagram.com/rutterandbennett


And for our next creative prompt…

“The spinning saxon, flying pigeons, polka batteries, jumping jacks and firecrackers, squibs and salutes, Aztec Fountains, Bengal Lights, and Egyptian Circlets, bangers or bungers, cakes, crossettes, candles, and a Japanese design known as kamuro (boys haircut), which looks like a bobbed wig teased out across the stratosphere. . . the language of fireworks has a richness that hints at the explosive payload it references. And yet, anyone who has ever held their camera up to the blazing sky knows that a brilliant firework show can rarely be captured to any satisfying degree. Perhaps this is what makes a nineteenth-century series of catalogue advertisements for Japanese fireworks so mesmerizing: denied the expectations of photorealism, these images are free to evoke a unique sense of visual wonder.”

More here and here and here.



The Kick-About #36 ‘Phantom Of Surrealism’


With its sepia tint, post-card proportions, and London landmark, this week’s prompt, Sheila Legge’s Phantom of Surrealism, might just as easily have surfaced as part of our previous Kick-About, inspired by the word souvenir – though, as holiday snaps go, this one could take some explaining. This week, Legge’s abstruse tableau has prompted paintings, collage, computer-generated landscapes, creative writing and some rather extraordinary headgear… Happy browsing!


James Randall

“This prompt made me think of world conditions acting on Surrealists – where do movements come from – so my response is a meld of the flower head with environmental issues, and how I think the level of denial everyone has, to so many issues, comes into play.” 



Tom Beg

“Using the kind of desert backdrop that sets the stage of many surrealist paintings, I set out to create some of my own phantoms in the desert, and had a go at generating some suitably dreamy visions inspired by the motifs in the photograph.”


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


Graeme Daly

“When reading about Sheila Legge’s inspiration behind her walking real surrealist exhibition, and how she was so inspired by the paintings of Dalí, I decided to create some Dalí-esque dream-like landscapes, while paying homage to Legge’s faceful of flowers.”



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


Phil Gomm

“Taking Sheila Legge’s image and Kafka’s Gregor Samsa as equal parts inspiration, I arrived at this short story. There’s a bit of horticultural knowledge in there too, a thing about nasturtiums thriving in the poorest conditions, and likewise, the situation unfolding in Afghanistan for women and girls.”


You can find an online PDF version here


Marion Raper

“I’m not sure if this is surrealism or the stuff of nightmares! I think, subconsciously, I was reflecting on the plight of women under the Taliban regime ,and on other women who are trying to break free from cruelty etc.   Don’t ask me what the blue doughnuts symbolise – maybe hunger?  Enjoyed doing this and definitely made me think and be thankful.”



Charly Skilling

“I was surprised to find this photo was taken as early as 1936. When I first saw it, it reminded me strongly of a 1950-60’s fashion shot. I have no references for this, it was just what came to mind. However, it got me thinking about fashion, face-coverings, Gertrude Shilling and Afghanistan’s women, and I started working on hyperbolic crocheted decoration for an old straw hat. However, while hyperbolic crochet makes amazing, wonderful shapes, the process itself can be tedious, and as I worked on it, my brain ran on to thinking about what had prompted Sheila Legge to create that image in the first place. What was she trying to convey? What was I trying to convey? The old straw hat was discarded, a new hat structure created, and as my hands worked on the hat, my brain worked on the process, resulting in the short poem below. The poem came after the hat, so it may make sense to read it after viewing the images. Or not at all. Up to you.”


It starts as a glimmer, little more than a glow,
A smouldering fuse that might spark or no.
But then it starts burning a hole through your brain,
And scuppers your routines, sleep derailed like a train.
Once it colours your vision and pounds in your ear,
Ties you up in the passion, the self-doubt, the fear,
And even your loved ones decide to steer clear –
Then you’re in the grip of a Brilliant Idea!
Maybe.



Vanessa Clegg

“Robert Benayoun suggested that while Surrealism exalted ‘la femme’, the Surrealists did not equally revere ‘les femmes’. The histories of female Surrealists have often remained buried under those of male Surrealists, who have gained wider public recognition. Well, Sheila Legge with her head covered, sums this up nicely, as does the Magritte painting surrounded by the above. Referencing their artwork and naming all the mainly, “forgotten” women, I felt went somewhere towards redressing the balance!”


René Magritte, I Do Not See the [Woman] Hidden in the Forest, 1929


Vanessa Clegg, Ink and watercolour over print, (2021)

vanessaclegg.co.uk


Chris Rutter & Evelyn Bennett

“Here’s a drawing called ‘Leigh Bowery Look 8’.”


rutterandbennett.com / instagram.com/rutterandbennett


Kerfe Roig

I had a lot of ideas for this, but only had time for one. Perhaps I’ll get to the others for some future collage. The statuesque quality was what stood out for me, and of course, I can never resist birds…”


phantasma
goria exposed
by shadows
dissolving
into borrowed wings eclipsed
by casting out light


kblog.blog / methodtwomadness.wordpress.com


Judy Watson

“So there’s a coincidence! Just when I was reading the short stories of Leonora Carrington, who met Max Ernst and became involved with the surrealists in 1937 at the age of 20, the Kick-About veered into the very same territory with Sheila Legge. All I have to offer the Kick-About today is the beginnings of a… something… featuring some bird-headed, flower-headed women. They will possibly eat one another. I may add colour if there’s anything left of them by tomorrow…”



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


With thanks to regular Kick-Abouter, James Randall, our new prompt for our thirty-seventh run-around: Peter Mungkuri’s Punu Ngura (2019). Have fun and see you back here soon for another celebration of creativity, process and lateral-thinking. As ever, looking forward to it.



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 #33 ‘Herzog’s Dancing Chicken’


After the epic, panoramic, and impressionist works riffing on Rutenberg’s Low Dense, I’m delighted to present an all-new showcase of work inspired by the improbable, homespun spectacle of Werner Herzog’s dancing chicken. (That’s not a sentence a person gets to write every day!). I’m delighted too to welcome some new kick-abouters into our midst, creative power-couple Chris Rutter and Evelyn Bennett. Welcome both, have fun!


Chris Rutter & Evelyn Bennett

“We have made a cut up poem from the words of the last scenes in the film. Dance, fuckers, dance!”


rutterandbennett.com / instagram.com/rutterandbennett


Emily Clarkson

“I was a bit bamboozled by the dancing chicken clip from ‘Stroszek’ having never watched the film. So I opted for some zany, silly visuals, featuring the chicken, duck and rabbit! I call it ‘Head Banger Stroszek.’


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


Jan Blake

“I’m still wallowing in bright colours this time. So with that in mind, and the craziness of dancing chickens, I came up with this. You are invited to the ‘Chicken Coop WOOP WOOP Disco’.”


janblake.co.uk


Graeme Daly

“I was drawn to the stage, the colours and of course the funky chicken!”


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


Kerfe Roig

“I first decided to draw while watching the video on a roll of rice paper that I had. This was a fun exercise, worth thinking about for other videos in the future. Then I did some monoprint outlines, based on those sketches. I tried to monoprint color on top, but that was not as successful, so I improvised with paint. Only the chicken with the blue background did not have a printed outline, it was all drawn in neocolors. There is no cohesiveness to this week’s work, but chickens are endlessly fascinating to draw. So maybe that’s the take-away.”




kblog.blog / methodtwomadness.wordpress.com


Francesca Maxwell

“I love the dancing chicken. Never would I have thought… Funnily enough, I am just painting a rooster, even if its meaning is a bit of a departure from the prompt. It all started from various kick about prompts actually, tree of life, symbols etc. Here is a bit of my tree of life, more like a climber really, with roots in the sea going up in a dreamy night sky, and my rooster daughter (by the Chinese horoscope), perched on it. Looks like a rooster singing to the moon now.”


www.FBM.me.uk


Marion Raper

“With this task I found myself in the realms of abstract again and fancied concentrating on the marks made by the chicken as it scratched and danced about. I decided to crochet the shape of a chicken, duck and rabbit footprint and stick them onto pieces of card to use as stamps. Next I used acrylics to paint the background and added some contrast printing using recycled packaging. After this I just proceeded to enjoy myself with ‘chicken foot ‘ stamp to make a happy dancing type of pattern. In fact I think there is actually a dance called Chicken in the Straw – so I have renamed this painting ‘Drunken Chicken in the Straw’. Plus had to finish with a little chicken quip – ‘I dream of a better world… where chickens can cross the road without having their motives questioned!'”




James Randall

“I was a bit focused on other little projects – though chicken dance was lurking in the back of my mind – originally I was contemplating an image of someone crossing the road, lost battery chicken-like in their smart phone. My final offering quickly took off from a couple of weird things I did and the news feeds bombarding us in Australia on the delta variant, to the point where it feels like we never had alpha at all and that delta just appeared out of the ethers. We Australians really have ourselves to blame for not deciding to bite the bullet and take the not best option astra zenica for delta’s current launch in Sydney. Anyhow, my attempt at a voodooish/distressed thought-bubble.”



Phill Hosking

“This scene really drew attention to just how bizarre a chicken really is, dancing aside. I realised I’d never really studied one before. Great opportunity to do so, so I took a tonne of screen shots from the film and picked some charismatic head shots. Getting to grips with the mixer brushes in Photoshop now, almost tailor made to paint fur and feathers.”


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


Tom Beg

“I think Werner Herzog used the dancing chicken as some kind of bleak metaphor for the tackiness and the emptiness of modern life at the time. Personally, I wanted to elevate the chicken to something more elegant, while capturing its essence and joie de vivre. In the end, I settled on these black and white images, which were somewhat inspired by an encounter with a rooster and some charcoal during my college days.”



twitter.com/earthlystranger / vimeo.com/tombeg


Charly Skilling

“I got very excited when I first saw this prompt, because I just love chickens! The range of colours and patterns they display in their plumage; their ability to scuttle about very busily, and then stop stock still – like a screen freeze – before resuming their previous activity, as if nothing had happened – and the fact they combine such dignity with such comedic flair. I just love ‘em! But, I have never attempted to capture motion in yarn before, let alone dancing hens. I soon realised crochet does not lend itself easily to “action shots” so it took a lot of head scratching and moaning and groaning before I found a way forward.

I found photos of chickens running, and then got my techie friend to overlap and tessellate them. From that I tried to identify the key shapes that said “chicken”. (See attached scribbles.) From that, I decided on tail shape, coxcomb and legs, and then tried to develop those into a pattern that might suggest movement. I chose colours in keeping with the folksy, children’s story mood of the original prompt. Here are the results. Chicken Runner, anyone?





Phil Gomm

“I was struck by the folksy, pop-culture qualities of Herzog’s dancing chicken, and keen to investigate the movement of these performing animals too. The rather forlorn spectacle of these animals, in boxes, existing to entertain through repetitive actions got me thinking about mechanical toys, so I acquired a mass-produced tin toy clock-work chicken and set about trying to capture its efforts to entertain me, in the form of a series of long-exposure photographs.”