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Monthly Archives: November 2012


Painting but not of the creative type!

Watched TV screening of film Jar City “A sublimely directed thriller, Jar City combines murder mystery, family drama and ample bits of Icelandic culture into a fascinating cinematic experience.” according to Rotten Tomatoes Sublime is not a word I would use to describe the direction of this unremittingly bleak film. No portrayal of natural wonders to alleviate the grimness of the Icelandic townscape (and society)!


A handful of mini-fossils from Barton Beds at Highcliffe

Paid a very quick visit to the Barton Beds at Highcliffe last Sunday. Unfortunately it was sunset so there was not enough time to get “stuck-in” to the richly fossilized Eocene clay deposits.

Visited the Institute of Contemporary Art to see Bjarne Melgaard: A House to Die In. A-House-to-Die-In reverses the usual idea of ‘house’. It also refers to the ‘inevitable’ of the future. I’m not sure about the paraphernalia accompanying the ‘house’, it seems to dilute the idea of future by adding the past. For further explanation click HERE. Searching on the internet for ‘A-House-to-Die-in’ listed the following link: HERE. Melgaard’s work is difficult to read as he seems to allow a certain amount of chaos into the work.

Also went to the Richard Hamilton exhibition at the National Gallery. The work here seems to be ideas in progress but not in such a chaotic manner as Melgaard. Hamilton employs lots of classical allusions – ‘the past in the present’. Hamilton was working on this exhibition when he died aged 89. His exhibition whilst physically in the present now contains his personal past.


Eskimo Nebula Painting

There comes a point in painting when the work starts to ‘gel’. The Eskimo Nebula painting has now reached this point and the end is in sight.

The dark areas have an interesting ‘luminous’ dark quality. In a sense there’s an interesting parallel with photography where more information can be drawn out of overly dark parts of photographs but nothing more can be drawn out of overexposed areas of photographs.

I’ve been rotating this painting in order to work on different areas – the question is which is the right way up? How do you determine the right way up for remote galaxies? What are the reference points when everything is constantly shifting?