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#129. Robin Greenwood writes about his new paintings
New paintings and sculpture, 2020
I’m posting this on 11th July 2020, my 70th birthday. I have a studio exhibition of sculpture and painting open now and for the rest of July, by appointment (07866 583629), but I’m concentrating this Abcrit post on twelve very recently-finished small and medium-size paintings.
For much of the past I have worked as a sculptor who painted occasionally, sometimes with long intermissions. The last couple of years have been different. As my recent sculpture has found its place in a new direction (for good or bad, better or worse), so the painting has recently begun to act as a companion to that sculpture in the development of an experimental three-dimensional abstract-ness.
The photo above is a view of part of the studio exhibition, showing a new sculpture, “Nuance and Nudge”, and three recent paintings: “Gemology/Gloriole”, “Urchin/Ultra” and “Topic/Traipse”. They are distinctive titles with no distinct meaning – “names”, in other words. I got very fed up with calling everything “untitled”, so I recently went out of my way to deliberately find strange words that have as little as possible to do with the paintings they are allotted to. (Abstract titles, perhaps? Please think nothing more of it!)
#128. Richard Ward writes about His Own Recent Paintings
All of these were done in the last couple of months and all in the same way – an old painting covered up with Payne´s grey, new paint applied/scraped with a palette knife, here and there disrupted with a brush.
Although none of them are intentionally one or the other, for me they range from obviously figurative to more or less abstract. For me again, the more spatial they are, the more figurative and the more figurative, the more spatial.
And the more spatial they are, the more engaging too – not because the figuration is in any way interesting (this is what I mean with “bland figuration”) but because the viewer´s projection of virtual space enables (or drags along) a simultaneous projection of subjective feeling, modulated by the surface shapes and colours. The more abstract, less spatial paintings tend to lack that element of “recognition”, not of figures but of some kind of subjective truth. Or that´s my thinking at the moment.
#127. Patrick Jones writes about his own recent paintings
Chaos Theory (Turquoise), 2019, 98x205cm
Lockdown has allowed a period of concentrated activity. There is no end result, like exhibiting. It’s just to see where the language of Abstract Painting takes me. I give myself a lot of leeway, as I’m working in an extremely concentrated fashion. I drive up the same lane, past Walter Raleigh’s house every day. I drive slowly and take everything in, looking at the colour, light and shade /a la Cezanne. Then I get to my farm studio and close the door. I stretch up a canvas quite beautifully. I have been a carpenter in NY. Then I stretch a heavy weight canvas over the frame, which has an inch and a half edge. The 5ft by 7ft canvasses are the ones featured here, and I make each one afresh, beautifully stretched anew each time. Then I really try not to plan too much. Improvisation is the key, but inevitably I make a few notes. I then have the weight of paint on the surface. I’m aware of staining technique from Louis and Frankenthaler. I enjoy that, but realise its limitations. Changes or additions can be great or awful, according to choices made. However I’m free to paint out what I don’t like, in a varied way. I’m always varying the surface which I find crucial to a visually exciting picture.
#126. Robin Greenwood writes on the Possibilities of Abstract Sculpture
If, on the way towards constructing a sculpture, perhaps starting with two or three pieces of cut and/or shaped steel or wood, joined together in a way that suggests some physical pressure or activity or structure; then is that, in itself, unchangeably and definitely either figurative or abstract, one or the other? Or is it mutable? Is it, after the making of it, an act that can have clarity only once, or can it be expedited in either form, and at different times? Does it need the context of the larger organisation that will include its identity in the whole sculpture?
What about joining these parts together without physicality, just “putting” them together, offering them as spatially conjoined in some way, just fixed together by what is between them (with a weld or a nail?), but nothing further in terms of physicality? Does abstract sculpture need a physical “context” for its content? Is it, perhaps in any case, not a question that can be answered before a great majority of the whole sculpture is built?
There seems here lots of ambiguity; but then again, if you exactly specify the joining together of the parts of the sculpture in order to avoid figuration, there is the likelihood of losing any degree of fluid spatiality… something which seems essential for abstract sculpture to be alive and flourishing.
#125. Tim Scott writes on “Why ABSTRACT Sculpture?” Part 3
Why ABSTRACT Sculpture? Part 3
I stated in Part 2 that the ‘ABOUT’ of a truly abstract sculpture, its ‘content’, would have to be redefined if there was to be any real success beyond that already achieved within its history (of around a century). I also claimed that the only parallel that it (new abstract sculpture) could look to for the conveyance of significant aesthetic feeling, was to be found in how music generates deeply felt human emotion through totally ‘abstract’ means; its ‘content’, therefore, being totally devoid of representational back up.
It generates emotion entirely through these abstract means. Which brings us to the ‘means’ of sculpture.
The means of modern sculpture, that of the last century, involved either some form of quasi or suggestive representation, or, as an alternative, a turning to and associating with, other physical and object worlds for identity and ‘meaning’. The common perception, at present, amongst the audience for sculpture, is that these conditions are satisfactory and laudable.
One has only to turn to the net where one can find literally hundreds of examples of what is called ‘abstract’ sculpture conforming to these parameters and, consequently, not really being ‘abstract’ at all.
#124. Robin Greenwood writes on “Making Painting Abstract”
Noela James Bewry, untitled No. 5, 2019, acrylic on canvas, 100x162cm.
Some time ago I was invited by Myles Corley, the gallery director of Linden Hall Studio in Deal, Kent, to curate an exhibition of new abstract painting, chosen from my own personal point of view. I thought it was a good chance to consider what did or did not qualify as “abstract”, and to examine the activities of painters whom I thought were moving forwards in original ways. It was intended to publish the short essay that follows as part of a catalogue for the show, along with reproductions of paintings by the ten chosen artists, all to coincide with the opening of the exhibition on 4th April 2020. Instead, due to the impact of the coronavirus outbreak, I’m publishing the essay and the ten reproductions here on Abcrit.
This essay was written before I had seen much of the work, and was not intended as an analysis of any of the content in the paintings to be hung. More than anything, it was aimed to demonstrate my own enthusiasms for differences and divergences ongoing in original abstract painting. I was genuinely excited by the prospect of seeing some of these very different works together for the first time. The exhibition will hopefully still take place before too long. In the meantime, perhaps we can begin here to discuss the differences, achievements and ambitions of this work, with an example from each of the artists. There will be thirty or so paintings that will get hung eventually in the actual exhibition, but for the time being, we are reproducing here one work each from the ten artists: Noela James Bewry; John Bunker; EC; myself; Harry Hay; Patrick Jones; Dean Piacentini; John Pollard; Hilde Skilton; and Stephen Walker.
I’m hoping the artists themselves are fit and well, and (in their current self-isolation) will contribute to a discussion of their work on-line, along with anyone else who might find it makes for an interesting dialogue. Reproductions are never as good as the real thing, but it’s a start.
With thanks to all the artists for their enthusiasm in putting together this show; and I look forward to the real thing in Deal, when it happens.
Robin Greenwood
4th April 2020
#123. Tim Scott writes on “Why Abstract Sculpture” part 2
Content in Abstract Sculpture.
In arguing, passionately, as I have been, for a truly abstract future sculpture, one has to face up to the fact of the ‘content’ of such works being totally devoid of the sort of emotional visual reactions to it that all traditional sculpture had; i.e. recognition, illustration, naturalistic representation, power, glory, sexual titillation, religious feeling, and so on.
What has commonly been called ‘humanism’ in emotional content as conveyed by a work of art, has been erased from the canon of ‘modern’ sculptural form in favour of objective statements of physical fact as form, conditioned largely by the materials in which they have been worked. This has more often than not been achieved either by a vague ‘reference’ (in the forms) to a recognisable source, or most frequently in recent times, by the ‘borrowing’ and adapting to sculpture, of the physical context of other related physical forms, architecture, engineering and object making in general.
This latter overlapping of what sculpture ‘does’ in relation to what other physical forms ‘do’, has caused a sort of crisis in sculpture’s identity; in that the lack of the former humanism has alienated a large section of sculpture’s ‘audience’ in the general public from maintaining any sort of aesthetic empathy associated directly with sculpture. Tragically, sculpture, as an art form, has been, as a consequence, trivialised and marginalised.
#122. Geoff Hands writes on “HARDPAINTINGX2”
HARDPAINTINGX2 at Phoenix Art Space, Brighton
An exhibition in two parts featuring work by:
Part 1: Richard Bell, Katrina Blannin, John Carter, Catherine Ferguson, Della Gooden, Richard Graville, Morrissey & Hancock, Tess Jaray, Jo McGonigal, Lars Wolter and Jessie Yates
Part 2: Rana Begum, Ian Boutell, Philip Cole, Biggs & Collings, Deb Covell, Stig Evans, Jane Harris, Mali Morris, Jost Münster, Patrick O’Donnell, Carol Robertson and Daniel Sturgis
Richard Bell, ‘Equivalences (2 part painting)’, 2019, each 59.5x42cm
Deb Covell, ‘Fit’, 2017, 27x9x11cm and ‘Blue Pleat, 2018, H24xW15xD3.5cm
Hardpainting as a concept appears to be difficult to pin down. The best advice would be to engage in primary research and visit the exhibitions and see for yourself. Or, if that is not an option, make a note of the exhibitor’s names and search out their works at other venues. For secondary research, trawl through your catalogues and bookshelves and visit the artists’ websites. As you form some notion of what Hardpainting is, there’s one important proviso: exclude the figurative. And a recommendation: be a little speculative and maintain a spirit of deliberate inexactitude. Also, pluralism is good (it’s certainly contemporary), for Hardpainting is not to be placed into a theoretical straight jacket. At least not yet.
#121. Tim Scott writes on Abstract Sculpture
Why ABSTRACT Sculpture?
Sculpture is a minority art form. By this I do not mean only that it has a very small audience, but that it deals with a very limited range of human feeling and emotion and therefore tends to have a comparatively narrow appeal.
Sculpture is probably the earliest form of human and even sub-human expressive reactions to the physical world and its habitat. Early man found that the interaction between his physical being and capabilities and his surroundings demanded some form of visible concrete commentary, and so what we now call ‘sculpture’ was born.
Early human tribes around the world enlarged on this and many societies developed it as an expression of their identity and culture. Essentially this involved creating with materials some form of imagery based on the human (animal) body and its physical capabilities. It was the one mode of expression that was found to represent the ‘reality’ of their beliefs and being, its literal physicality being an adequate substitute for belief, sexuality, and imaginary worlds – as well as explaining the real one.
