Emyr Williams

#19. Emyr Williams writes on John Hoyland at Newport Street Gallery

John Hoyland, 9.11.68, © The John Hoyland Estate, Courtesy Murderme Collection

John Hoyland, ‘9.11.68’, © The John Hoyland Estate, Courtesy Murderme Collection

John Hoyland, Power Stations, Paintings 1964-1982 is at Newport Street Gallery, London SE11, 8th October 2015 – 3rd April 2016

Damien Hirst’s new gallery is open for business and, surprisingly perhaps, he has chosen to showcase a particular period of the work of John Hoyland. Power Stations 1964-1982 launches the Newport Street Art Gallery in Vauxhall, London. Although Hirst has mentioned his deliberate challenge to those who say you can’t make and curate at the same time, I would have thought his way of making was very much in tune with the approaches of a curator. Get something interesting into a box, just on this occasion make it a bloody big box. Good for him to do this, though. I’m sure there is a sense of intrigue as to what will come next, but for now we can enjoy the wonderful spaces that this former scene-painting studio houses and get a meaty glimpse of the work of a significant British abstract painter to boot.

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#3. Emyr Williams: ‘Homage Limitations’

Helen Frankenthaler, 'For E.M.', 1981

Helen Frankenthaler, ‘For E.M.’, 1981, 71″x115″, acrylic on canvas.

Many years ago I was in a dinner party in California given by my cousin. She is an actor and producer and the company she invited was charming and witty and the conversation easy and friendly. I enjoyed it, and it exuded a slightly glamorous atmosphere too, being in a villa overlooking the Pacific Ocean. One comment though has stuck with me to this day: It was when I was asked “Where are you from?” I answered without thinking, “Wales.” One highly impressed person leaned over to me and in almost hushed tones said: “Wow, that is the spiritual centre of the universe.” Now, I am a proud Welshman and I am always pleased if another nationality knows that Wales exists, let alone passes any kind of familiar comment about it, yet this comment was something I did not see coming at all. I smiled and nodded and thought about this statement… we clearly had very different experiences and ideas of Wales. I assumed he pictured a group of Druids, solemnly striding around a circle of stones, in touch with the forces of nature and the general turning of the universe; whereas I suddenly thought of my home town on a Friday night, when a fellow I was in school with burst into one of the pubs and offloaded two blasts of his shotgun into the ceiling. I won’t name names for legal reasons, though I doubt if he is reading this (and that is a sentence with one word too many). You could say his action was the result of a completely different kind of spirituality.

Artists tend to love Art. We go to galleries, exhibitions and openings. When we are not making Art, we are looking at it or talking about it. We look for it online, we participate in forums, symposia and generally surround and busy ourselves with as much of it as we can. It is our visual food. Yet can our love of Art sometimes be our undoing? Clement Greenberg once said: “The superior artist knows how to be influenced.” The question raised is: influenced by whom and – more importantly – in what way?

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