Even before I start writing this piece I feel that it might be a long and very personal one. As it concerns the way I work at present, it could be of no interest to anyone but myself. So be warned should you wish to continue.
I favour working on a series theme. The present one is on “Events”. These may take minutes to complete – or months. All are done from happenings large or small (stories) that I set myself the task of turning thoughts of objects of interest and pleasure into a flat painting of two dimensions to hang on a wall (very old fashioned nowadays, I suppose).
For instance: one was done having witnessed a fight on the ground between a wood pigeon and a carrion crow. The pastel took minutes to do – quite a different matter to the present one that I describe here, which took four months, though interrupted by a bout of acute bronchitis that turned into whooping cough when a fight for life took precedence over artistic output.
My modus operandi is, after deciding on the event(s), or story, is to make drawings of the proposed ideas on scraps of used paper, then to progress to acid-free A4 paper for the application of line and then pastel colour. There may be several of these to retain or discard. Then, if thought to be satisfactory, I will progress to a work on a large, A1 edition (33” x 23 ¼”) (79.5 cm x 59 cm) on card.
Small works are done usually at my desk in a little room (my studio) at the top of the house. This suits me as I have always favoured working in a small space. For the much larger A1s I kneel beside a bed where the card lies on brown paper pulled from a large roll of it at one end.
Also on the bed are several boxes of large pastels that contain roughly colours of the same kind.
I might at some time in the future abandon “Events” and strike out on another theme. Nature seems to dictate when these changes might happen. But for now it’s events.
At least I am my own master, with no-one asking or demanding what I might do, no galleries to provide for and no corporate artistic bodies to influence my work.
What my eyes have seen is the usual motivation for an event painting. After that everything comes from the brain – the imagination.
This imagination is mine alone, and although each process is very real to me, other people are sometimes mystified by the result. To my mind, that is the way of art. It may be self-indulgent, but it represents the special art world in which I live. What I produce is, I hope, grist to the imagination of others.
The just-finished painting, an A1 size Event, number 48, developed thus.
When our cleaner comes once a week to smarten up the house in her robust and rather forceful Polish way, we leave the house to her and have breakfast in our local, insalubrious café, called The Ritz (where our dustmen take their morning break). We have tried much of the breakfast fare on offer and have settled on a toasted brown bacon sandwich for Margreet and a plain white bacon sandwich for me. We drink builders’ tea.
After one such early breakfast, where we look out over busy, cosmopolitan King Street, Hammersmith, we attended an evening birthday party, given by a retired banker cousin, at Brooks’s, the height of gentlemen’s clubs in St. James’s Street, off Piccadilly, London. The latter is a club where, in the 18th century men gambled away their fortunes, estates and even wives.
So this painting (actually pastel), entitled From the Ritz to Brooks’s, was about a day’s event, starting at society’s lowest order and finishing at its highest. Such a contrast not only made a splendid event but an extreme contrast of pleasures that we experienced in one day – an event.
But how to present this as a painting of composition and colour? That was the problem (as it is with all works of art that flow from the mind).
I decided to start with The Ritz, which has its name engraved on the street window, and is seen in reverse from the inside. Across the road, in contrast, is a Sainsbury’s sign, seen as normal. Then there were cars on the street, people on the move, and us in the foreground with our bacon sandwiches and builders’ tea in mugs.
Drawings (compositions) were made, with avenues of thought in the form of lines. Then, on acid-free A4 sheets of paper, further developments, simplifications and colour added.
After those, I felt like combining them with my thoughts on the extremes, working directly on to a large A1 sheet of card.
As I think about the painting in operation night and day, I may suddenly alter and evolve it. Mostly this takes place very early in the morning when the mind and air are fresh and all is still, but can take place at any time.
The Brooks’s part of the painting had to include a grand, red-carpeted staircase, a crowd of people meeting and talking, large portraits of past worthies, long, black limousines and a factotum on watch.
Then, when the piece was finished, it had to be fixed, as pastel chalk would smudge, fall from the board and get everywhere. This I do on dry flagstones in the garden with special spray. As it had rained for a few weeks I had to wait for the weather to change before sealing it.
Then, after the pastel was fixed, the piece had to be signed, dated and studio stamped with the reference code.
From this account the painting sounds like a very complicated one. But it is, in fact, rather simple and stark.
Is it a good, bad, or indifferent work? An artist never knows as we think that each one is good – otherwise we wouldn’t be artists doing what we do as part of our being.
So what is considered to be one’s success (or failure) as an artist? Does it depend on demand and high prices at auction or the number of solo exhibitions achieved? Is it the close connection with a well-known gallery or the number of private buyers interested in their work? Might it be satisfied owners, public purchases, or good reviews? Or could it be income from sales, notoriety, or demand from foreign buyers? Yet again it could be membership of an artistic corporation or consistency of style. It could be any or all of the above that go to form an individual’s or critic’s opinion of success or failure.
As for the artists, they carry on doing their best and, hopefully, enjoying what they do. They can do no more.