The Kick-About #27 ‘The Song Of Love’


The Kick-About No.26 – our one year birthday bash – was, at first glance, a collection of disparate things brought together into a single composition. In actual fact, however diverse, the work in the last edition of our fortnightly run-around was tightly associated: the shared dreams of an eclectic community. Our new prompt, de Chirico’s The Song Of Love, is another assembly of seemingly incongruous artefacts and what follows are our respective responses, taking in photography, painting, drawing, and collage, digital art and animation, poetry and spoken word.


Graeme Daly

“I have been having wildly vivid dreams as of late, the kind of dreams where you wake up in the middle of the night and need to write them down, the kind you remember so clearly when you get out of bed in the morning, the kind where you try to decipher their meaning to see if its some sort of cosmic message within your unconscious psyche that needs to be brought to fruition. These dreams feel as though they relate to the collective phenomena, where people at the start of lockdown had extremely vivid dreams, probably in relation to their unconscious being so fired up because their everyday lives felt like Groundhog Day, something I still feel like I can relate too. Surrealism, as an art form, is cemented in the unconscious, with surrealist painters adopting many techniques to unlock the power within their unconscious, so that it translates through to their art, including many being influenced by allusive dreams. With this in mind, and with this week’s The Song of love prompt, I have created a landscape of some of the symbols I have recently seen in one dream that has had a lasting effect..”


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


Gary Thorne

“Looking through a Sotheby’s 1977 catalogue, I discovered this Georgio De Chirico self-portrait from 1924, and liked it enough to do a sketch. It then seemed appropriate to introduce Georgio to Faversham, as under lock-down I did a few sketches which all of a sudden seem like a De Chirico painting. Outside the studio sparrows are active, and a homage to Morandi seemed appropriate being weekends now favour lunch in the garden.” Unfinished oil on prepared paper 50 x 65cm.



linkedin.com/in/gary-thorne


Vanessa Clegg

“Well this is multilayered in more ways than one but suffice it to say that I used the globe, glove and shadows from the original artwork and then wove it into my own song of love! Coloured crayon on paper.” 60cm X  55cm.


vanessaclegg.co.uk


Phil Gomm

“I took three things from the de Chirico painting; the rubber glove, the perspective, and the uncanny…”



Jordan Buckner

“As many have written over this past year, our lives have become perhaps a tad too much like a De Chirico or Hopper painting. The empty, beguilling landscapes feel a little too familiar for comfort, but nonetheless, these sorts of spaces are my stomping ground. The unease of architectural space has always been an inspiration in my work, and so here are a few strange tableaus inspired by De Chirico’s The Song of Love. These images are my first renders and experiments using Blender. Essentially, Blender is an open-source CG software to compete with the likes of Autodesk Maya. It’s amazing so far, and because it is open-source, it means that the software is completely free. The dream for a low-budget indie animator like myself. “



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


Phil Cooper

“I’ve always liked de Chirico’s strange and unsettling paintings. Still and airless, in a perpetual sickly twilight, they are at once magical and slightly menacing. There are peculiar objects populating his spaces, they look like props and theatre sets to me, everything rather hollow and dead looking.

De Chirico influenced the surrealists with his explorations of the metaphysical. The unusual juxtaposition of seemingly disparate elements in his paintings, such as in The Song of Love, stimulate odd associations, and the emotional bandwidth of the image is that of dreams and distant hazy memories. Freud published his book, The Interpretation of Dreams in 1900 although Chirico denied being influenced by Freud’s ideas. It would be easy to believe that he was, though, looking at this painting.

So, for this prompt I’ve used photo collage to shake up a conventional portrait image of a respectable looking woman and reveal layers of her psyche hidden beneath the surface. I think she may need professional help!”


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


Charly Skilling

“My first reaction, when I saw this prompt, was OMG! I had no idea what to do with it, so I resorted to research (the procrastinator’s friend), read around it, looked at it again, read some more… Then one day, as I sat staring glumly at the painting on my computer screen, my husband Billy looked over my shoulder and gifted me the first line of my poem. The rest of it just sort of fell into place. After that, it only seemed natural that Billy should assist in the vocals. We had a lot of fun and discussion and laughter with this poem, and I hope some of that comes over in the recording. I still don’t really know what de Chirico wanted to convey in “Song for Love”, but I do know Billy and I will always think of this painting with affection. PS _ Billy’s got the performance bug – he keeps asking if there’s a part for him in the next one!”




Wasted On Some, read by Charly & Bill Skilling


Jan Blake

“I’m in a bit of a quandry re. De Chirico’s Song of Love – not that I haven’t given it a lot of thought! So my offering is almost an insane antidote to the subject matter, but none the less a real metaphysical concept of a building that I saw in Mexico some years ago. There are no holds barred when it comes to planning permission in Mexico. This curious mixture of ideas is an artwork in itself. Originally a thirties building full of the symbolism that pertains to that era in cinemas and the like, now it is the premises of car mechanics, and they have proudly painted it bright yellow. This is a poor area of Guadalajara, full of artisans and mechanics. The joy in colour and self expression shows a true love of their craft and life itself, whatever the hardships.”


janblake.co.uk


Emily Clarkson

“After having a quick read up on some of the influences behind Chirico’s work, I felt like attempting a surrealist version of my lockdown environment! I was inspired by an article written for the ‘museum of modern art‘ on Giorgio de Chirico’s ‘The Song of Love’. The author described de Chirico’s marrying of ‘dissimilar objects’, and noted that some of the eerie shapes and anxiety-inducing forms in his paintings may have been de Chirico depicting his world utterly torn apart by the first world war. It’s very hard to ignore our own monumental world event with it still happening- so I explored the absurdity of life in lockdown in the style of Giorgio. The space depicted is the dining room in which I have spent the vast majority of my time. I developed a love/hate relationship with that particular corner. Firstly my computer became less of a fun thing. It was previously a place I could work and also unwind. But then the internet dissolved into a white noise of concern and anxiety. And it became my main bittersweet connection to much missed family members. I, like many, took a deeper interest in what few houseplants I have. (We don’t have a garden)  So they lived on the windowsill next to me bathed in sun for a couple of hours every morning. My routine would see me coming in each day, armed with a cup of tea and putting the computer on – except for the rare occasions I had to go outside, then breathing obscured my vision in fog. (Glasses and masks don’t work together too well during winter). Lockdown turned the world on its head and I imagine there are millions of often overlooked objects out there, whose value has been totally altered as a result.” 


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


Francesca Maxwell

“Apparently, in this painting, De Chirico refers to his life and the fundamental things that keeps us alive. Based on Nietzsche’s “Thus Spoke Zarathustra”  «Aren’t all the words made for the heavy? Do not all words lie to those who are mild? Sing, don’t speak anymore ». From this, de Chirico took the title of his painting: Il Canto d’amore. So, not the words. but the song of art is what makes us overcome melancholy and still love life. This painting is the song of love for life and beauty, so this is my version of the song of love to life. I grew up in Genova, a city with wonderful architecture, built on steep hills, full of steps and narrow roads. As children our daily walk was, at the end of a long tree-lined avenue, to the Rotonda over-looking the sea and the harbour. I tried with this to show a bit of the joy I felt every day running to the balustrade and breathing in the sea. I had no time to painting it, so it is a pencil sketch.” 41 x 31 cm


www.FBM.me.uk


Kerfe Roig

“The collage I did evolved from a lot of other ideas, merging with Merril’s quadrille prompt at dVerse to use the word seed, and Brendan’s prompt at earthweal to write Songs of the Earth Shaman. I needed to consider this seemingly unsolvable riddle that is human life on earth from more than one side.”



1 Here

a handless glove, a stone
visage.  A blue orb
planted with life.  Dust
seeds blown by
cosmic winds.

Look backward to see
the future.  Ruins
of visions.  Monumental
doors to nowhere.
The detritus of humanity.
Is this all
that we wish
to leave behind?


2  A Meditation or Maybe a Prayer

for those who ask and those
who don’t answer.  For those
who always make way and those
who have never been found.
For what we know and refuse
to acknowledge.  For what
stands in the center of what
we think we believe.  For what
remains when faith has fallen
apart.  For the times that we
begin again and the times
that seem to have no ending.
For what we hold against
others and what we keep
to ourselves.  For the impossible
and the improbable and all
the borders we draw to keep
from finding out.

Listen.  I am
waiting for you
to come home.


kblog.blog / methodtwomadness.wordpress.com


Tom Beg

“These photos taken in Japan are a mix of old and new, but in all instances I was probably looking for and trying to capture the same thing. Mostly, the sense of a passage of time, and a kind of dreamy nostalgia. These just so happen to also be the themes of De Chirico that resonate with me the most.”


twitter.com/earthlystranger / vimeo.com/tombeg


With thanks to Berlin-based Kick-Abouter, Phil Cooper, we have a highly evocative film by Howard Sooley, as our new prompt, and its subject, Derek Jarman’s Prospect Cottage. Lots of jumping-off points here. Have fun and see you again on the other side.



Under Milk Wood (1954)


To begin at the beginning: It is spring, moonless night in the small town, starless and bible-black, the cobblestreets silent and the hunched, courters’-and-rabbits’ wood limping invisible down to the sloeblack, slow, black, crowblack, fishingboatbobbing sea.


Like caffeine, it is to this 1954 radio drama by Dylan Thomas, I turn whenever I feel my own creative mojo flagging. When the good words won’t come, I listen to this, emboldened always by the music of Thomas’s language and the rich meat of his imagery. When a character won’t materialise for me, I go back and spend some time with this fictional village’s ensemble of frustrated, thwarted dreamers, all of them caught, all of them poets, all of them rudely alive and real-seeming. I love the darkness here, and the way the extraordinary images just keep on coming, vignette-after-vignette sequinned with detail.

Whenever I listen to Under Milk Wood, I remember writing is nothing short of a magical act, and I scold myself for moping about, wasting time, and just not getting on with it.


The Kick-About #5 ‘Symbols’


With Jean Cocteau as our guest referee, little wonder the Kick-About #4 was a game of magical doorways, shadowy thresholds and nebulous reflections. This time we have Alice Neel as our muse, whose uncompromising paintings have, hardly surprisingly, prompted a range of provocative impressions from our motley crew of up-for-it creatives. Happy browsing.


Eleanor Spence-Welch

“This painting really intrigued me, so I took time to read about the story behind it and the symbolism within it. Alice Neel painted Symbols in response to her husband leaving her, taking their daughter with him. When I look at the doll and glove on the table, I see things that were left behind by the daughter when she left, little items that were once insignificant, now a symbol of what has been lost. There are discussions on how the inclusion of the cross and apples represent Eve, perhaps suggesting Neel sees herself as the the destroyer of her own Garden of Eden – her family.  In my piece, I wanted to take the symbols that stood out the most to me, and using Neel’s style, create a new piece. The doll to me is a symbol of childhood, the cross a symbol of sacrifice, the apple and leaves representing Eden, now lost.” 


instagram.com/espence96 / twitter.com/E1eanor_Spence / facebook.com/ESpence-Art


Marcy Erb

“I decided to do some monoprints and had several tries where the prints just weren’t matching the vision in my head for this challenge. Finally, in frustration, I mixed some fabric ink I had with the printing ink on a small metal rolling plate and had that moment of excitement when I pulled the paper off the plate. The two inks weren’t really compatible (even says so on the bottles!) and the effect was much closer to what I was looking for – much closer to Alice’s experience, I think. Alice Neel’s biography is fascinating and she lived a difficult life as a woman artist, receiving popular recognition only later in life. She painted unvarnished, unflinching portraits of her subjects and from what I read, never compromised on that.”


marcyerb.com


Phil Cooper

“When I saw the prompt for the next round of the Kick About I was intrigued. I didn’t know this painting or this artist, so I started Googling and found out more. I looked at the painting again; there was an unsettling mixture of childhood and adult references going on. The painting started to trigger thoughts and memories of my own childhood…”


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


Liam Scarlino

“I initially mistook the doll in the painting for a voodoo doll, which sent me down a Wikipedia rabbit warren. I surfaced on an article about cunning folk; practitioners of folk magic and divination in England from medieval times up to the early twentieth century. They learnt their craft through spell books called Grimoires, which taught how to create magical objects such as talisman and amulets, other magical spells, and how to summon angels and demons.

Cunning folk however were usually employed in order to solve specific problems, such as missing property, or malevolent witchcraft.

With an East Anglian tradition of cunning folk in my area, I decided that gave me licence to have a go at some millennial magic.

Two of the practices which proved popular against witches were voodoo dolls, and witches’ bottles. I felt a bit funny about voodoo, so I opted with the more friendly sounding witches bottle.

If a witch had placed a curse on your home, your local cunning folk would help you create a witch’s bottle to capture the evil in your home. The folk would produce a bellarmine jug, which the victim was required to either urinate in, or place rosemary, red wine and pins. This would then be buried in the furthest corner of the house, or under the hearth. The purpose behind the objects was that after burial, the bottle would capture and contain the evil, the pins would impale it, the wine would drown it, and the rosemary would send it away. I’m not sure why they needed the urine sample.

Putting a modern spin on ancient problems, I moved house recently and have been having problems with the builder. Rather than read through some tedious warranty documents, I thought it would be easier to use the witch’s bottle to sort out permeated outer walls and safety glass guarantees, and also perhaps throw in a tiny bit of a curse.

I made a crude jug from a pack of air drying terracotta, which it turns out is very difficult to shape, and carved the building faults I want to resolve into the sides, then slapped some black paint on it, to draw the badness in. I then added the red wine, some rosemary and some wood screws (no pins available), opting out on the urine. I live in a flat which doesn’t have a hearth, so I settled for burying the bottle in a pot in the corner of my balcony.

As of the time of writing, there hasn’t been any change in the outer membrane of the house, and I can’t say if the builder has suffered any sudden misfortune, but it’s early days and I remain hopeful.”


 liamscarlino.net vimeo.com/liamscarlino


Phil Gomm

A short film inspired by the various portraits Alice Neel painted of babies and young children that reveal an unsentimental image of motherhood. Quite Normal was likewise inspired by the experiences of my own mother, whose teeth my brother and I stole as babies. Sorry about that, mum!



Vanessa Clegg

“Replacing the objects in Alice Neel’s “Doll and Apples” 1932; I’m referencing two contemporary issues: COVID 19 and human damage to the natural world (under subheading ‘Victims of Circumstance’)….scattered like (tea) leaves on the page…and thus looking into an uncertain future.” “Plastic Soldier with Woodcock Wings”. Charcoal and Graphite on Fabriano.


vanessaclegg.co.uk


Jordan Buckner

“Strangely, I’ve actually been thinking about Alice Neel a lot lately. I’ve been meaning to watch the doc on her life and work for about a month, and so when this kick-about prompt showed up, I jumped at the chance.

I don’t want to say too much about my piece apart from I hope it expresses something of Neel’s own work. In these recent lockdown months, I’ve been surrounded by people battling deep crisis. This painting is about a singular evening during the lockdown when some of those crises boiled over.”


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

Watch Jordan paint live at twitch.tv/jordan_buckner


Maxine Chester

‘On discovering Neel’s painting embodies a personal, traumatic experience, I have explored the themes of motherhood and loss.’ 3D Sketch – logs, saw dust, chewing gum, tights,  126 x 98 x 40cm



Graeme Daly

“Alice Neel’s doll painting reminded me of my dad’s basement, where I would spend a lot of time as a young lad with my cousins making up scary stories in the dark…”


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


Kerfe Roig

I wanted to approach Alice Neel’s painting in a different way than I had done previously. The inspiration for this 3-D collage came when I was cleaning out some papers and came upon the paper insert for the Evanescence cd “Fallen”. The cover photo of Amy Lee seemed to echo the face of the doll Neel had painted.This was music my younger daughter played over and over in her adolescence, and it was fun to go to YouTube and pull up the songs.  I still like them.  Maybe I even like them more now.  Amy’s voice is a force, and she can be way over the top.  But the gothic flavor of the music seemed also apt to the painting.

I think Neel is addressing her struggle as a woman, a mother, an artist, a person constrained by family and cultural circumstances. She lost her oldest child to her husband’s family who considered her an unsuitable mother. The life she chose was not easy, but she never gave up her need and her right to make her art. Must a woman be only a virgin mother or a childless whore? And why should gender determine who we are or what we can be at all?



upon my end I shall begin–
I’m going under

I’ve been sleeping a thousand years it seems
without a thought without a voice without a soul

the truth drives me into madness,
my spirit sleeping somewhere cold

no one’s there–
never was and never will be

save me from the nothing I’ve become,
return to me salvation

maybe I’ll wake up for once,
fallen angels at my feet

let me stay,
bow down and stare in wonder

I know who you are–
the goddess of imaginary light


kblog.blog / methodtwomadness.wordpress.com


Marion Raper

“Whereas the artist Alice Neel had a rather sad life with the loss of her two daughters, I have decided to reflect on the symbols of my very happy creative life, and also that of my great aunt. She too was called Alice and was the 5th of 7 children, born 9 years before Alice Neel in 1891. Her father died when she was about four and somehow the family survived in a male-dominated society through two world wars.

What do myself and great aunt Alice have in common? Well, we both love to make things. She was a milliner and I have inherited her milliner’s block – a strong solid oak symbol of stubborn perseverance if ever there was one! I decided to try and make a hat on it. I attached lots of my crochet pieces I’ve made over the years. These are in the style of Irish crochet, where lots of motifs are joined together. Irish crochet began in the famine years of the 1840s and became a symbol of life and hope for the Irish people, especially women, to help make ends meet. Hats off to you Aunt Alice!”



TJ and Jo Norman 

Through collaboration, we fuse sculpture with animation, exploring theatrical aspects of using characters and stories, in conjunction with symbolic real-world materials. This quick turnaround piece plays with Neel’s imagery and themes; apples, dolls, loss and rebirth.”


“PUPA”

www.tjnartists.com / #tjnartists


Charly Skilling

“When I first looked at Alice Neel’s “Symbols”, it struck me how crushed, how hopeless the figure seems. Yet her make-up is intact and immaculate. It got me thinking about why women wear make-up and what impels us to literally put a “good face” on things, even when things are anything but good. While I was musing, I was experimenting with some freestyle crochet and the following is the outcome of both musings and experiment.”



“As I was working on the face, I was struck by how the reverse told it’s own story. In particular the finished eyes are those of a woman on the edge. On the reverse, they look scratched out…



Stephen Foy-Philp

Looking at the source image I felt quite disturbed, which fitted very nicely with my current interest in Absurdity and a recent reading of Hermann Hesse’s Steppenwolf. I proceeded to layer both domestic and made elements from around my home in order to create a sort of cross section of where I am at. All topped off with, and I think you will all agree, a very lovely frame from Wilko.”


instagram.com/stephen_fp_


Many thanks to kick-abouter, Francesca Maxwell for our brand-new prompt, which takes its title from the book by Rebecca Solnit. See below for our new jumping-off point and submission date. Have fun and see you all again on the other side and get in touch if you’ve enjoyed the showcase and fancy a run-around too. Whatever it is you’re doing creatively, there’s room for you here.