http://sites.a-n.co.uk/artists_talking/projects/single/371175 Intersections past and present Wed, 09 Jul 2008 07:34:56 +0100 a-n rss generator a-n The Artists Information Company and contributors edit@a-n.co.uk technical@a-n.co.uk http://sites.a-n.co.uk/img/logo.gif http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Cities grow and change over time, new replaces old, new roads bridges redefine connectivity within a place.  My project is based on the idea that we can most readily see this change by comparing maps from different periods in history   My home city of Newport (in South Wales)is a place undergoing drastic change, there’s extensive demolition and the centre of the city is being drastically remodeled.  This has caused me to reflect on the nature and character of this place and wonder how that may change.   Of course any place is a accumulation of past changes, minor and major. It will be interesting to try and disentangle this.  I’ve been thinking about this for a year now, I presented my ideas to some of the art professionals in the city, I think I was a bit red faced and inarticulate, but my enthusiasm seemed to grab them and they have endorsed my idea.  My exhibition will show in our  new arts centre The Riverfront recently built and itself part of the regeneration of the city.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Newport my home town is situated in South Wales and lies on the banks of the river Usk.   You can’t miss the river it bisects the city, numerous bridges link up the two sides of the river.  You might have heard of the famous transporter bridge (www.crowpoint.co.uk/transporter_bridge/).  An electric powered gondola passes between the tall towers,   When I was a kid a journey across it was an exciting event it felt as if you were going to a another distant place -us Welsh don’t expect a lot.   The river has one of the biggest tidal ranges in the world, at low tide the sticky mud banks are exposed.  Many find these mud banks ugly, but I quite like them and they are home to lots of different types of birds who also seem to like them.  Newport is a port city with a rich history, its home to a diverse population, the city has been described as being ugly and post industrial.    Well it is  a  bit rundown but all that is changing, the city is being  redeveloped,  a new bridge has been built, extensive demolition is taking place  combined with  the creation of a new shopping centre, we will even have a Debenhams store!  All this change has created a feeling of hope and optimism for a better future. In 1839 Newport was the scene of the chartist uprising.   The Chartists advocated electoral reform and sought political rights for a wider stratum of society than what was then included.   You still sense that commitment to social justice and  helping the disadvantaged in Newport today. There’sa emphasis on providing decent housing and improving peoples living conditions.   I was brought up in one of the many council estates that  lie around the city.  Its sort of an   ideal, that can have a funny side.  I do get a bit fed up with the classical music (Of the stirring type) that they pipe into the bus station each morning.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Been looking at old ordinance survey(OS) maps in the local library  they are more calligraphic and flowing  than their modern counterparts.   Some of these maps go back over a 150 years which is the sort of time frame that interest me.  The maps were regularly re-published every twenty years or so, with updates and changes. When comparing maps, the changes became very apparent.    Starting with the earliest maps I could see a radial growth from the center, evidence of new replacing old. Swathes of woodland disappear as time moves on.   I suppose any place is patch worked in this way, bits being added, removed and replaced.   Some maps reveal significant social changes, workhouses were indicated on maps from the nineteenth century and maps from the 1950's onwards show evidence of social planning at that time, with the appearance of large estates and schools and the infrastructure that supports them.   As I understand it any map which is fifty years or older can be freely used without infringing copyright.  If you wish to use more recent maps you need to contact the OS and seek permission.   Many people think that the laws governing the usage of this type of material should be freed up in order that full creative use can be made of them.  I intend starting my project next year (Feb time) so now seems a good time to approach the OS and clear my proposed usage.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Received some good news, the ordinance survey have granted me permission to make use of historical maps within my project- was a bit worried about that, the project is based on comparing maps of different ages, so not to have use of these maps would have caused major problems.  They have asked that I just include an acknowledgment of their permission in any exhibition material, which seems reasonable.  The other piece of good news is that my project will receive the support of the Arts Council Wales, its nice when people say yes.   So I feel in an optimistic ready to go mood.   My project is pretty much in the main digital in other words carried out on a pc.   The idea is to produce the artwork on the computer using suitable graphics software, these will then be printed.   To do this type of thing calls for a pc with a bit of power.  Plenty of memory and a powerful processor, I'll need to bolster up my machine.   I will draw to the screen using a something called a graphics tablet, this is a device that plugs into your pc you move a electrical pen over the tablet and you will see the image appear on screen.   The hand eye co-ordination thing is a bit different since you are not directly viewing your own hand, producing the drawing.   Anyway must get one soon, they are horrendously expensive but I can't do without one.    Starting the project is about   getting the right tool set, the correct software and computer configuration, not quite paint and brushes I know, but art means many things I guess.  And then it's off to go.   It surprising  but to get to this starting point has taken a lot of time - a years planning.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Not fully with it at the moment and I haven’t even started my project so that's bodes well for the future?   The graphics tablet (the electronic drawing board) arrived over a week ago but stands unpacked in the corner.  Is this the electronic equivalent of writers block.My mind's full of other stuff at the moment, a mixture of trivia, family matters, and the wider world.  The typical mangle that occupies our day to day thoughts.   Spring seems to be coming early here- the daffodils are fully   in bloom.   What is traditionally a joyous symbol of spring perhaps portents of something far more ominous for the future.   Had a nice day in Bristol, Saturday gone went to the Royal West of England academy they were showing their open sculpture show.   The RWA is a fine old building, you sort of imagine the place to be populated with pompous conservative old farts, but they show a wide range of interesting work there.  It cost three pound to enter and was free for the kids.   Show was nice , the absence of any support literature let it down a little, as much for the exhibitors as the visitors, I would have though the six quid could have run to a free A4 printout.  Hopefully this won’t be the last one will catch you again.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Have finally  taken my graphics tablet out of its  box  and connected it up to my pc.   The process is -you move a electrical pencil over a pad positioned on your worksurface  and draw,  the image appears on the pc screen  and its  as simple as that.   Even though your not directly viewing the action of your hand, everthing makes sense and coordinates.   The graphic tablet  is responsive to  the pencil  pressure and the angle at which the pencil is held, so all in all it feels a fairly natural intuitive experience.   I think it would be fairly well nigh  impossible to do this project without this equippment.  Current technology has enabled the project,  I guess  new technology will always act a cataylst for artist experimentation, which must be a good thing.   Im using the pad in combination with a graphics software package, I know people can get a bit intimidated with software, so many options where do you  start.  The point is that you will only ever use a small amout of that functionality, its just knowing the bit you want.  In my case it was the pencil tool that interested me so I got familiar with that aspect of it.   I'm trying to define a look for my maps how they will appear the quality of the lines, their smoothness and weight.  I want a organic flowing look  to the maps the idea of a living evolving landscape.   All these sort of things can be controlled an tweaked through the software so its all about experimenting at the moment.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Have completed my first map! It shows the whole city of Newport. When printed it will be large, over a meter square. The River Usk bisects the town and enters the Bristol channel. On the west bank of the River is the district of Pill and this has special significance for me. Pill is the docks area of the city. Over the years many immigrants have found a home here - my grandfather was one. In this one small district there are in excess of thirty languages spoken. Some of there communities are very old, there has been a Somali community here for over a hundred years. More recently there have been arrivals from Eastern Europe. So in a sense this map charts changes in those who have come to live here. The map is unlabeled, reduced to a series of unmarked flowing lines, I have tried to give a pattern like quality to the map. I imagined the mystery and draw of the land, this sense of coming to a new place seeing it for the first time, something quite different to that you know. Full of unknown symbols. The natural shape of the river/land seems to communicate this, the course of the river is sinuous and opens funnel like to the Bristol channel, the river seems to draw you in towards the land, it seems to suggest a new life to come. I can only imagine it must be the strongest of motivations that brings a person here to start a new life. I see this map as a type of landscape revealing the form of the land and water. The course the river takes is very attractive, which is ironic in a way, when viewed close to, the exposed  river mud banks are quite ugly.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 I started  mapping the local park called "Belle Vue".  This  is a Victorian park, a little faded but still beautiful, it was created by the famous victorian park designer Thomas Mawson. It's our local park, my mother played here as a little girl and its where my kids play now.  This place can seem no more than a pastel dream and on this stage  many bitter sweet minor dramas are played out.  There are many characters -‘Parky' is the park warden.   To kids of a previous age they were a force to be reckoned with.   Parky now works part time, co-aided by CCTV cameras.   The present incumbent, told me he has to tread a wary path with both kids and adults, who can blame him, he values his personal safety. Times change we change.  This  map will be a  intersection of all that, a crossing of events past and present, some personal others observed or historical.  I like having a chat to some of the older park user's,  they may have been coming to the park for many years and notice change.   They tut this and that and hark back  to a time when the bylaws of the park were  adhered to.   Then, there was no vandalism or rubbish and dogs were kept on a lead and people it seemed were nicer to each other.   I don't know how true all that is, but it interests me and I want to draw that out ideas of social change played out against the backdrop of the park.     ... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 I been keeping regular contact with the gallery where my exhibition will be shown.   Discussing the project and exchanging ideas.   It's a useful exercise and gives me a bit of feedback and some constructive criticism.   However from this exchange a slight difference of opinion has arisen.   In combination with my drawn maps, I'm producing a series of sculptures.  These sculptures represent certain details from each of the maps.  The idea is that the viewer would seek out the sculptures within the maps.  I thought it would be a good way of getting people to look at the detailing of the maps.  My park map contains a dog fouling sign, just as you would see in any park.  Apart from representing it within the map I also want to have it made up as an actual sign.   Here lies the problem, an actual sign with the title of "don't give a shit".   The gallery has no problem with it being an untitled detail within the map, but having it as a separate sign with that title is causing some problems.   Contrary to what it shows it's not just about a dog taking a crap.   Part of this map thing is about social change, previous generations willingy followed the rules and conventions of their day, by contrast we tend not to attach as much importance to them, perhaps that may sometimes border on being antisocial, that's the direction.   Anyway I'll tone it down, will be disappointed if I have to bin it, took me ages to get that dog's arse right.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 There have been shops in the old commercial quarter of the city since the early part of the 19th century.   I guess that over the  years, the ownership and nature of the business has changed.   The chippy used to  be a butchers, but what was it before that?   I went to the local reference library and looked at Kelly's directory.    Kelly's directory records the details of local commercial premises.  They go right back so you can trace the history of a particular shop or group of shops in any area within the UK.  Its fascinating stuff, in the early part of the 20th century many of the business seemed to be makers.  There were hat makers, basket makers, boot makers, and watchmaker's - evidence of a thriving fairly self-sufficient community.   There was a temperance bar on the street.   The temperance movement was a reaction to what was then regarded as the evils of alcohol, the temperance movement advocated moderation/ abstinence from drinking alcohol.   This movement started in the North of England attracted a huge following and temperance bars sprouted up all around the country.   Here you could sample many non-alcoholic delights such as Dandelion and Burdock, Sarsaparilla, Ginger beer, Cream soda, Vimto, Black Beer & Raisin.    Of their time they seem to have more or less disappeared, I understand there may be one remaining in Lancashire.          .  "Temperance" such a quaint sounding word, indicative of another time and way of thinking.   I don't think now, we would see any virtue in the concept of "temperance".   Moving along in time(1942) to the  local funeral parlour sandwiched between the newsagent and the tobacconist   advertised,  "All social classes catered for".  Divided even in death it would seem.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 This place has a industrial past.  Steel, coal, timber flowed in and out of what was one of the busiest ports in the country. Local people proudly identified themselves as being dockers, steel workers, carpenters and alike, not a namby pamby artist in sight then.  This was a badge passed down the generations, families would be referred to by both name and trade, thus the Williams were Dockers.  A more certain but immobile world, come your fourteenth birthday you knew you would end up with your old man in the yards.  Much of that has gone.  I want to understand the dynamics of this, how this industrial machine worked, how it all connected up.  I am looking a town map dated 1938.  It all starts with the river, two large deep wet docks spur off the river, there are numerous dry docks (for ship maintenance).  Quayside Cranes load/unload the boats.  Serving each crane is a dedicated rail line, these rail lines radiate out covering the whole of the town.  This network is much more extensive than what remains today, most of it has been torn up but the odd rusty section remains as a reminder of that past. Many of the incoming products are being processed locally, the local factories are directly fed by the extended rail system.  The rail lines flow directly into the factories themselves.  This connectivity and method of distribution is different to the road based one of today. The homes of the workers are local to their place of work, you didn’t have far to travel to get to work then.  Looking at this map, I am reminded of muscle, ligature, connective tissue, it has a organic alive look to it. Considering the time of this map (1938) that seems apt, within two years, with the outbreak of war that muscle would flex.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 TOOLS DOWN- well I just don’t feel myself at the moment so work has ceased, I spend much of my time sleeping.  My condition is further agitated by the various political canvassers coming to our door.  We have the elections for the Welsh assembly coming soon so all the various parties are making the  rounds.  This is not a typical response, normally I welcome the various evangelists that seem drift to our door.  Be it Jehovah witnesses, Mormons or double glazing sales people, normally I will always give them a ear, but I just can’t hack it at present.  To counter this I have placed a poster for each of the candidates in our front window, each political party is represented.  Not sure what they make of that but it seems to be keeping them away- job done!... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 My day starts with a shave, a quiet contemplative moment for a bloke, it’s that moment in the day when you get to look at your  fizog up close.   The other day whilst doing this, I was a bit alarmed to notice/imagine that my nose seemed to be bigger than normal.    Independent of that experience  and later in the day my wife  Jacky made the same observation, she tells me it’s one of those things, time moves along and so we are carried by it.   Why it should suddenly appear so apparent I really don’t know – hope it stops there!       Reminds me of the first time I took my wife to visit my Greek relatives, they had arranged a large family gathering, we all sat down but what became quite apparent was the fact that they were staring at Jacky.  It turned out they were fascinated by her nose which is a rather sweet retrousse nose (a Pontypool nose perhaps?).  Greek noses it must be said are of the strong nature, a characteristic that I share, even more so now, it would seem.  I know racial stereotyping can be an unpleasant thing, but it would be a sad old world if we were uniformly the same.  I love those old Roman statues where the physical characteristics of the faces are so strongly expressed. Moving from noses to hands.    I want to map part of the old commercial quarter of the city.  In the form of a sculpture this will include shops both past and present.  Early in the twentieth century there were lots of ‘makers’. Hat makers. Basket makers, watch makers etc,  in other words things were being made locally.  I want some sort of graphic that represents that idea which I can incorporate into my sculpture.  The common element is the idea of being hand crafted, i.e. the use of the hands, I want to try and pose a pair of hands suggestive of that - the craft of the artisan.  Old religious art is full of expressive hands, perhaps it seems too melodramatic to modern taste.  I think it depends where you come from, Mediterranean people readily express meaning through gesture and hand movement.  Actually thinking about it my kids are not adverse to the odd hand gesture.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 I’m thinking of performing a resurrection; well, of sorts, read on.  I want to map ideas associated with   ‘social’ change, around here, over the last hundred years.  In this direction my thoughts have turned to the local stately home, “Tredegar House”, this was the ancestral home of the Morgan family.  An enormously powerful and rich family they owned and controlled much of this city and its port.  Tredegar house, a palatial heap, stands as a symbol of their omnipotence.   Sometimes worlds collide, I remember my father recounting, of how as boy,   he would illicitly enter the house grounds.  He described to me his sense of wonder, at seeing the huge mature magnificent trees and the block colours of mature rhododendrons, a view into  another world I suppose.    That was not that an unusual situation around here in the nineteenth century.   At the forefront of the industrial revolution South Wales and its industries was carved up and controlled by a small number of families.  Cardiff which is close to here was under the aegis of the Marquess of Bute.      Time has all but  erased the Morgan family, and ownership of Tredegar house has passed to the local council ( a very grand council house).   Now the house and grounds are an amenity enjoyed by all.  On a sunny Sunday afternoon you will see many people spending time there.  As a basis for a sculpture I imagine  a scenario where users of the park, both past and present (including Lord Tredegar himself) will be brought together, to spend one afternoon in the grounds together.   How would we see each other?... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 I’m sat looking at my keyboard, over ten years old its patina of newness is long gone. Over this time it has accumulated interesting and diverse accretions. I’m guessing that this detritus is mostly me, looking closely I can make out dog (Harry) and human hair, there’s dust, bits of food. The depressions between the keys are well and truly furred up. This is not pure unsullied technology; some sort of fusion has taken place between me and my gear. It doesn’t bother me at all, actually in some ways it is somewhat reassuring. I won’t even start to tell you about my monitor screen – achoo. I’m sure you could have done without that, but I thought I would mention something about my brushes. Attended the Cardiff AIR event last night; a very pleasant occasion. My spiel followed on naturally from this blog, I took along one of my wooden cubes- Local to us a mature Beech was felled in a storm, the wood was available so it was cubed : the timber was cut into identical wooden cubes, imagine kids wooden blocks, but on a much larger scale. Our house is clogged with them, which is causing some friction. Great fun is to be had messing with them. But you do have to be a little wary of fingers and toes. The one I took along has a section of rope attached to it, which lends it rather a weapon like appearance, see snap. Well the cube had absolutely nothing to do with my mapping project but there you are. On the mapping front- When printed my images will be large, I can only ever view/print a small section at a time on my home equipment. So I will only get to see the final product in its entirety once it has returned from the printers. I await that moment with some apprehension.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Visited the National Gallery in Trafalgar Square London, outside the museum we encountered the marble sculpture, "Alison Lapper Pregnant".   I thought it cast a dignified, somewhat noble air, quite in keeping with the grandeur of Trafalgar Square.  A testament to personal fortitude -  I found it interesting and challenging, well done to all involved in that project.  In the gallery we saw the Leon Kossoff drawings, these studies are based on paintings held in the National Gallery collection, Kosoff created them in situ, marking the images directly onto metal plates.  What an energy , the frenzy of the  ‘marks’ advanced the formation of the image; I like drawings  where the process is  so evident.  The only one that disappointed was his drawing of Rembrandts ‘Bathing woman’.  Rembrandt, by contrasting areas of light and dark focuses attention to the beauty of the bather’s skin. I felt this was missing in the Kossoff drawing.  Continuing on my fleshy trail, I next encountered the Velasquez nude, “Venus at her mirror”.   A famous painting, it’s a most sensual thing; I felt myself drawn towards it and I studied it up close.   Some minutes later I became aware of a group of students studying me studying the picture, I felt a little embarrassed, I suppose it could have been worse - it could have been Courbet's  “L'Origine du Monde”. I suppose our sex influences the way we see and react to images. You can hardly leave your balls out in the entrance foyer of the museum.  Some of my images have returned from the printer, I am happy with the outcome.   Unfortunately, on the next leg, to the framer, they somehow stained, it’s not a great disaster but it does mean having them reprinted.   It’s just a little more unwanted expensive.   In the main this project involves sending files off to printers (usually found on the internet), you cannot always be absolutely certain of the end result.   Some efforts I have scrapped, you learn, but at a cost.   The colours might not right or the substrate is unsuitable or simply that a poor job has been made of it, this is the problem when others are making the things for you.  My exhibition is only a few months away, I feel quite daunted by the various things that need to be done.  I will knock up a excel spreadsheet; at least I can then see the task in hand.   Will sign off there, going to a Hare Krishna do tonight.  Love the chanting and the food is not bad either.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Went to the local park the other day and took some snaps for my project.  The fine weather had brought lots of people out.   You see such a wide range of people enjoying themselves; every age, colour and  so many different languages spoken.  The mix is easy, the aim, the pursuit of pleasure, if the wider world were as uncomplicated as that.            I firstly photographed the wrought iron cherubs that decorate the park gates and benches.    As a kid, they puzzled but intrigued me, I guessed they had something to do with the council, since they appeared as part of the town crest, but was uncertain beyond that.   I think I imagined that these “council angels” were guardians of some form, patrolling the park.  They didn’t worry me; they appeared heavenly and benevolent.   The Park Bye laws are displayed just inside the gate, the text is faded and barely legible, they are dated 1958, I learnt later that they have not changed since that year.  The rules appear quaint and out of time.  I doubt if anybody even bothers to read- apart from me!  Do rules matter?  Do people need rules to guide their lives?   What are the rules that guide our lives today?  The protocol of a space may not be obvious -    I remember the first time we took our kids to the local Roman museum.   The centre piece of the collection is a large Roman mosaic, centrally placed, a low slung rope separates it from the public.   We allowed the kids the freedom to roam and explore the museum on their own.  A little later we heard shouts, all at once museum attendants seemed to appear from every direction: it turned out  that our kids had stepped over the mosaic rope and were doing laps of the mosaic -  you live and learn. Oh well I can finish my park map now, will add cherubs and some of the park buildings.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Still here; still going.  Pictures printed and framed waiting to be hung, so I feel fairly happy, it really does feel as if it’s coming together.  Now working with the gallery to get the press release / posters /invites sorted out - quite a nice part of it really!   Not the easiest thing in the world to capture in one side of A4 the essence of what this show will be about; there have been times when I’ve been a bit unsure myself.  It’s a bit like a fine thread you see it clearly, then lose sight of it, that’s a cycle that I been through quite a few times.  It’s inevitable people will ask “what this exhibition of yours about then”, it you can’t answer in the simplest most direct way your sunk.  Been thinking about food for the opening, they go together – art & food.  I’m always a bit disappointed if there is no grub on a opening, enthusiasm wanes, must avoid that, get some food in, it will keep the kids quiet if nothing else.   I want to get a wide cross section of people along top see this, will be quite fucked off, if otherwise.   Interest in the project is building, which is gratifying, the BBC here are doing stuff on the exhibition so quite excited by the prospect of that.   Must relax a bit now, watching the “Umbrellas of Cherbourg” yet again tonight, I really don’t know how many times I’ve seen it.    It brings comfort of some sort; don’t even ask how many times I’ve watched “Saturday night fever”.    Going back to the umbrella thing, possibly as consequence of my addiction to the film, I have developed a thing about umbrellas.   I really love the aesthetics of a traditional brolly, I noticed they were all sporting the trad umbrellas (varied colours) with curved wooden handles up in London. There a rather  charming old dear who lives opposite, over years she has built an impressive collection of brollies; very  impressed with her collection.  She’s been educating me on the finer points of what constitutes a fine brolly.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Went to the park yesterday, sat down  and watched  the world go by. I'm sat there thinking about the stuff that I have made off the back of this.   But how does it relate back to what I seeing.  My stuff and the park itself now seem two quite separate entities.   I concentrate and start looking for details: I can see a couple having a snog; a  dog having a poo in the bushes; The raised sounds of an altercation; some guys downing cider.  Things start to tie back in with each other.I had my dog image made into a sign, I quite fancy setting this up in the park and taking some shots, sort of taking the whole thing full circle.  What's the worse that could happen? Get kicked in maybe - no, I've found that when you place art stuff out in the 'real' world people might be   puzzled but are generally interested. Maybe I will do that.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 In the process of putting some bits n bobs together to form a small book to accompany the exhibition.  Nothing fancy just some images/photos and text and some bits from this blog wrapped together, I've seen these photo books that you can get over the net, you arrange and sequence your images, send them off, that gets printed up in the form of a book.  It just seems a nice relaxed way of giving a bit of extra background information to those that come to the exhibition.  Price wise they range between 20 to 40 quid so its ok for a one off.  The content will take the form of a loose narrative, just telling how the exhibition has come together and some of the ideas behind it.  Money is a bit of an issue at the moment, I can think of many small things that would make it a better exhibition, but they all add up.  It would be nice to flog some pictures to cover the overflow but it's not my main preoccupation; I just want as wide a cross section of people to come and see the stuff as possible.  In that direction the show will be well advertised through the art centre, but I won't leave it at that, I intend to get out and try to speak to people, raise the profile of the thing. I have come too far to let it go, push- push -push that what I am telling myself anyway.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Spent the last few weeks screwing, really sore.  I’ve been attaching plates and fixtures to my pictures; the sore bits are my fingertips.  Puerile way to open I know but anyway let’s “Carry on blogging”.   So at the moment it’s getting the small bits done, I’ve been hanging a few pictures in the house just to see how they look and that’s going ok, bought one of these laser levels, you position them on your wall and they throw a horizontal line that enables you to position your pictures accurately, great tool.  Planning the opening, a short introductory talk maybe, don’t want to bore the pants off people but I think it will shed a bit of light on things.  Can art function without words, I don’t know, my maps will not speak of themselves so I do need say something about them.You may remember that earlier in my project I did a image of stacked coffins,  this was based on a 1941 advertisement : a local  undertaker advertised that ‘They catered to all social classes’ stated in such a direct way it is of interest reflecting  prevailing attitudes and class divisions at that time.  Is present day society divided- maybe.  And where do artists stand  on the ladder; that’s a difficult one, rich and famous artists are treated like demi gods out of the stratosphere.  For the fast majority of artists they are where they have always been right down the bottom, it’s an odd thing to call yourself an artist because in truth you don’t easily slot into any definable social group.  So some things don’t change; its always been a bum rap for the majority of artists.   No point moaning about it.  I wanted to capture this in some way so I decided to authenticate the coffins picture and added my signature right down in the bottom perhaps reflective of the artists position in society.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175 http://sites.a-n.co.uk/artists_talking/projects/single/371175 Crash bang wallop: in the process of moving pictures from studio to gallery there was a slight mishap.  We shifted the pictures using a taxi, the taxi guy helped to unload the pictures at the entrance to the art centre, they were laid against a pillar.  It’s not called the Riverfront for nothing; strong currents of air carry up river. Anyway one of these currents whipped up the picture and it smashed against the floor - 100 quid’s worth of damage - I had already tipped the guy by this time.  Anyway, bless his heart he looked equally aghast, eager to make amends he suggested we shove the fragmented glass in the river – nobody from the environmental agency out there I hope - anyway I cleaned the glass shards, cut myself in the process and blood landed on the exposed print, a sort of convergence of misfortunes.  We managed to get the remaining pictures into the gallery in one piece.   I really enjoyed the process of hanging the images we had the services of the gallery technician and I was anxious to try my new laser level.  I would thoroughly recommend this tool, they are really good and everything looked nice and level.  The opening was a pleasant affair, the family helped out: Aunty Jen on the buffet, nan on the wine(you know what I mean).  Today I did my BBC thing which went well; speaking into the furry sausage thing was a little strange.  This is my final entry so thanks to those who have followed my progress through this blog.Regards - martin... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/371175