- I am happier at school than at home. Life is just toooo frenetic here and yet whenever I pick up the girls and they ask "so mum what did you do at the weekend"I can only think of going to the gym, food shopping,walking the dog, washing and catching up with DVDs. Some how I get more done at work (and that does not include the teaching bit) before 3pm than I achieve in a whole weekend here.
- I just do not like (and it pains me to say this) silver sandals. I have tried on many pairs and it just looks like I have laced tin foil around my foot. Back to black.
- Leyla will need at least 10 years of therapy to get over the damage done by Emin's ridiculously pushy parenting, the child will be a monster. My heart bleeds
- Every day I waste hours dreaming of how I would leave Emin if I won the lottery. I don't even play the bloody lottery.
- I hate photo realist painting. The BP awards at the NPG is full of the stuff. It is utterly gruesome. Take a bloody photo. It's like saying "oooh look everyone I am sooo clever" No you are not real talent is Frank Auerbach portrait of Catherine Lampert.
- I did gain some solace in the rooms upstairs. Take a deep breath and smell that eau 'age both paintings and visitors. I also finally got the outfit spot on. A very billowy black silk skirt, green silk top and a very very old grey cardie. On EBay it would be classed as vintage it is one of those old thermal jigsaw ones. You know it's old because it has the wide velvet trim with cotton lace. Rather than the cheap ribbon and nylon lace they used as the cardies became more popular
- David Sedaris is a wise man. I did find his most recent book When You Are Engulfed In Flames a bit maudlin but a recent interview with him did answer one question I too wanted to ask. "Yet even though he has had a home here for the past six years, British stories never feature in his writing. The reason, he smiles, is quite simple: "To me a lot of what happens here is funny because of the way that it's said, and there are certain accents I can imitate, but I can't sustain any kind of British accent" Plus this advice which is maybe stating the obvious but I like it anyway "Oh no," he says at once. "I don't think my life is more interesting than anybody else's.
I think the only difference between me and everyone else is this ... [he reaches into his inside pocket and pulls out a small notepad] I write things down. That's all." read the rest here
Sunday, 28 June 2009
Thursday, 25 June 2009
Throughout my work there is a strong interest in history and memory both of the individual family and its relation to wider culture. Working with multiple images, grid structures and the book format, allows me to explore the temporal and transient, the indexical and the archival nature of photography. The moving image work brings together past narratives with present places, conflating the two as documentary evidence, while the still images cumulatively narrate familial histories, relationships, exiles and returns. The work can be read as sitting between fact and fiction, past and present, the real and the imaginary."
In Darkness Visible 2005 – 2007
His luminous photographs could well be considered paintings in the sense that they are often multi-layered constructions. Yet they remain pure photography……Hughes is indeed both writing with light as the root of the word photography implies and using the camera as one of photography’s inventors, Henry Fox Talbot described it, “as the pencil of nature.”
In reaction to media led sensory anaesthetisation, and wearied by empty political rhetoric, my aim was to construct a forest built from accumulated memory and the ghosts of trees. Spending a period of two winters’ visiting public spaces in central London, this work inverts decorative Arcadian layout in an attempt to restore a sense of the natural in the cultivated, somewhat synthetic city ‘wilderness’ spaces.
What Hughes is doing with both verses of his elegy is asking us –‘ to slow down to find the still small voice of calm that in the darkness may yet be visible.’
These images are huge when you see them very powerful and slightly ethereal.
"Bailey’s previous work includes the Jerwood Photographic Prize-winning ‘2 Willow Road’ (2003) on the architect Ernö Goldfinger, and ‘Postscript’ (2005), which was a visual meditation on the passionate yet volatile wartime affair between Lee Miller and Roland Penrose. These series have been exhibited by galleries in the USA, Canada and South Korea, as well as Germany and the UK. Her work is seen in prestigious private collections both in Europe and worldwide; and in such collections as the V&A Museum, Coutts & Co. and Stephenson Harwood.
Visually Bailey seems to pay fealty to both Rothko, and Barnett Newman. These works may be photographs and the subject may be surfaces fashioned by Victorian book-binders, but ‘Shelf Life’s Cantos do reflect 'a form, mood, beat, and scale' not dissimilar to the lithographs that Newman created in his ‘18 Cantos’ of 1963-4."
Tuesday, 23 June 2009
They are of an old temple that I found at the end of a tube line, it was a short walk into the mountains and the view was stunning, The temple was beautifully weathered and still used by the Buddhist monks. I cannot believe how lucky I am to get these images from the darkness. They appear quite grainy and have been heavily photoshopped, but I feel the means justifies the end in this case.
So now I have managed to retrieve these I will be archiving some of my past successes and more mediocre efforts.
I have been trying to do this project for years, seriously trying to get the camera and the peace and quiet to do it, plus half the bloody sculptures are still wrapped up so I know I have only got half the ones I wanted.
Saturday, 20 June 2009
So why did I go out and buy a pair of slate grey linen shorts on sale in GAP yesterday? Well for one the colour is lovely and goes with everything. Also they fit like a glove and because I do have a half way descent set of pins they flatter. So all I need now is some hot weather!
And STILL the bloody cast room is not ready, how long does it take to give a room a lick of paint?
I did rather like the contrast of the casts with the packaging
That one down there is one of my favourites, I did manage to take a few images on my Pentax which I will edit on Monday. The primary reason for going was to get my sixth formers out into the big wide world and see some photography in one of the galleries. The V&A has a superb collection most of it sadly not on display. However you can of course sit in the print room and order certain prints which will be brought to your table for your perusal , how lovely is that?
Now long time followers of this blog will know that I am obsessed with stripes, I love this glass sculpture hidden away upstairs in the glass room, like a fool I was in such a hurry I did not make a note of who made it, but I do remember it was a Japanese artist.
I also love this collar by Eylem Binboga, I could not find any other information other than this bangle, she too graduated from the RCA.
Thursday, 18 June 2009
Thursday, 11 June 2009
Although I do not feel the same frisson of excitement as I used to when I first bought Vogue all those years ago, I still feel The British one is one of the more intelligent Vogues published in the world.
I can appreciate the steely iron grip that Anna Wintour has had over American Vogue, but as she gets older she is in danger of become a parody of herself, wonder if Anthony Perkins is not just around the corner hissing “mother what have you done!” whenever I see pictures of her.
Likewise Carine Roitfeld of Paris Vogue appears also to be the darling of the fashion press whilst having the looks and figure of a pram face
I am sure they are both utterly lovely women and yes, I am guilty of a bit of woman on woman bitching now and again, but it does puzzle me that both these woman are ranked so highly as arbiters of style and fashion yet Alexandra Shulman rarely gets a mention. Maybe it is because she is so grounded as this article in yesterday's Guardian proves. This is an editor that acknowledges the minor irritations we suffer as we get older, the drooping upper arms the thickening waist line and for me the shock of slack skin. Even I ‘Princess Olive Skin’ am suffering from gravity in that department
A dress you once imagined as delightfully bohemian suddenly looks like something your least favourite teacher* would wear on the hottest day of term. Because summer highlights not only concern about bare arms and legs but seems to draw unwelcome attention to the depth of your torso. The distance between the front of your stomach and your back unfortunately becomes a whole new difficult territory delineated by the thin fabrics of summer, and high-waisted dresses do little to help this.
*Oh there we go teacher bashing again
Although I am amazed to find myself writing this, leggings seem suddenly to be a bearable solution to wear under dresses if you find the seasonal loss of the opaque tight unsurvivable.
Both pragmatic and a realist. I am currently wearing some, because quite frankly, it is bloody freezing and I like to wear a skirt every now and again. I personally like to wear a loosish pair of jersey dhoti pants with tunics, whilst knee length very opaque coloured footless tights look lovely under a knee length skirt. Tabio is fantastic for these and although they cost as much as some skirts, they last forever and make the cold bearable.
So a big Mwah to Shulman (despite the usual teacher bashing) for showing us oldies a little understanding.S-Sung as recommended by Shulman, I love these but they only appear to be available in America.
Matta, which I found here again in America
Believe it or not two from M&S! I am not a big fan and I can guarantee they would not fit but the one above is very Marni, again recommended by Schulman.
Katzeboutique from Etsy
Pamela Tang again Etsy
Monday, 8 June 2009
Films like magazines have become slightly less satisfying, probably because sometimes a tightly edited episode of CSI can be a more gripping watch than many films. Television is no longer the poor man of the screen and in fact is, along with the more traditional avenue of literature feeding the film industry.
I initially stuck to the more traditional material, my criteria has been to pay no more than a tenner although I have bent this rule a couple of times. You might think this would preclude all star casts, in fact it does not.
The recent production of The Dolls House was rich with ability and shiny stars, I had thought that a couple of the actors would be a bit hammy but the play was well acted and I loved the close proximity you have to the stage at The Donmar Warehouse.
The story itself is one have I have read many times. It resonates more so now, as I am in one of those negative ever decreasing negative spiral of a relationship. The difference is of course I do not want to leave Leyla; so no door slams shut here.
Hamlet on the other hand was new to me, seriously; I must have been the only one in the audience who did not know the ending! I was enthralled, I honestly did not think I could ever access Shakespeare, but I have to thank Bill Bryson for opening up my horizons as his book Shakespeare is wonderful.
The production was the last in a quartet of plays directed by Michael Grandage. The sets, costumes and production have been amazing. I particularly liked the costumes in Hamlet as they were very simple, clean lines, contemporary shapes all in shades of dark and light.
Daisy was not sure about Jude Law’s mandigan as she called it. I had never heard that word before so laughed all the way to the station!
Tim Walkers review hits the nail on the head particularly Law’s voice. What is his strength in film is very much a weakness here, I wonder if he will last the run. This is a minor criticism it makes for a brilliant night out.
Then onto the Old Vic for the Bridge Project’s Cherry Orchard.
We were so lucky because I had bought seats with a restricted view, however the couple in front wanted to swap as she had bad vertigo and trust me it is a real drop, from the Lillian Bayliss balcony so we had a fabulous view. I love Chekov, this was vintage stuff, brilliantly adapted by Tom Stoppard; even Ethan Hawke manages to hold his own, just.
Sadly Emin was not impressed by my gallivanting, because the two nights out backed onto Thursday evenings RA Summer Show preview, oops.
Saturday, 6 June 2009
First up are these monumental prints by Claas Gutsche
Common to my work is the interest in narration and the subversive view of beauty in landscape, as well as an unease and uncertainty about the space or place.
I am interested in the contradiction between the beauty of the surroundings and the actuality of its past, a space where the viewer can feel a tension, a darkness just below the surface.
Making art is like finding a shortcut. Not because resolving something creatively makes life easier but because it gives you that magical feeling of finding something new in the middle of something known. Shortcuts bring things together. They do so differently, efficiently and in a more surprising way than before. I like being surprised, and I find the world to be a surprising place of things. My favourite things today are: tangrams, bilderrätsel, Architectural Rescue, headless chicken, the letter X, line drawings, paisley, stationery shops and wheels.
Some richly layered prints by Lucy Farley, who also has a print in the Royal Academy Summer Show
The fragments of memory, past sensations and experiences, that are associated with a particular urban or natural landscape, form the basis of my work.
Through repeated drawing, the images are built up from a series of quick and impulsive responses, which conjure up the spirit of a place and time, and reflect a state of mind.
The finished work is a combination of three or four layered plates that are both painted and etched
Instead of seeing this I finally went to the British Museum to see Garden and Cosmos: The Royal Paintings of Jodhpur. THE COLOURS just amazing.