This project blog »

Page 3 of 4 :

Project blogs

Exhibition in Portugal 2008...an occasional discourse and diatribe

By: Graham Swain

An exploration to help prepare me for this commercial gallery. Feedback is always welcome...wanting to be professional throughout and expect the same from the gallery...I'm already slightly concerned...

# 18 [3 April 2008]

Arts Council England south east, news issue no. 16 arrived yesterday...the RFO's (regularly funded organisations) have all won the lottery. Thousands and hundreds of thousands of pounds given away. Over £43 million pounds over three years for the south east.

It's mostly a pleasure to enter these public art galleries and see the work displayed with such care. An experience sometimes negative, sometimes positive, sometimes provocative, sometimes dull and sometimes inspiring. When it's crap, that really is frustrating.

I've re-read my blogs and can see I need to be more positive...as from now this will change and I will explain why I think I've been this way towards the 'art world'...  

Graham Swain, 'In the land, in the sea, in the sky II', Oil on canvas.

[enlarge]
Graham Swain, 'In the land, in the sea, in the sky II', Oil on canvas.

# 17 [2 April 2008]

Exhausted...just finished turfing a clients lawn. This may have been my last garden project. No phone calls. My garden business may have to close. This is not unexpected and totally understandable in this uncertain economic climate. No one wants to spend money on their garden.

It's all positive, as everything is pointing towards painting. At least I know already there is no money to be made in painting.

Mark-making, colour relationship, proportion, where every mark matters, absolute complete honesty in decision making, then arriving in the zone where something else takes over...a beautiful state to be in...pure creation.

This is what is important to me. This is all that matters...

# 16 [1 April 2008]

After some discussion...I will wait about a month before I phone the gallery. Wanting to write an email, but in this case it's best to phone. Emails can be misconstrued and there is nothing like voice to voice conversation.

With the delay in constructing the new gallery space there's been time to reflect...my paintings have always had a more European appeal and exhibiting/selling my paintings rarely happens and if I were to exhibit then Portugal definitely appeals to me.

I absolutely hate approaching galleries and I don't think this is going to change...exhibiting may improve my 'gallery' confidence...I doubt it...

# 15 [31 March 2008]

Another blog...the collective term for blogs is...load...a load of blogs.

This is a load of blogs...well it is in my case...OK...so I'm a little bored today from painting white walls white...

Graham Swain, 'Long cool linear landscape', Oil on canvas.

[enlarge]
Graham Swain, 'Long cool linear landscape', Oil on canvas.

# 14 [29 March 2008]

It's rare I get to see my brothers...but Michael, who lives abroad, has just left after a short stay. A British colony centred around managing and making money where many have been adversely affected by the corrupt banking world. He is one of the few not motivated by money.

It's The Boat Race today and as Founder and President of The Bermuda Rowing Association (BRA) he'll be standing on Hammersmith bridge in the wind and the rain.

It's the corrupt art world that concerns me, where 'taste' and 'fame' can be determined by certain bankers and corporate bodies with too much money and influence...this is one of the reasons why I give paintings away.

Ultimately, it's creating the work that matters.

# 13 [27 March 2008]

Sailing from the Hamble was wonderful...a westerly force five with beautiful ever-changing views. The 'Blue Lady', a 34' Hallberg Rassey gave us an incredible unique experience.

Mass in medieval Domfront, Lower Normandy on Good Friday and Easter Sunday...then to Chantilly for reasons that cannot be divulged at this early stage.

Rich experiences waiting to be released in paint...

'Smartie is a pickle worth far more than pickled fish...'. Photo: Graham Swain.

[enlarge]
'Smartie is a pickle worth far more than pickled fish...'. Photo: Graham Swain.

# 12 [18 March 2008]

The pickled Emperor's new clothes. There's a pickled fish in the papers today, 'worth' a lot of money. There are banks in the papers today in a pickle, worth nothing.

Pickle...a funny word...a funny world...

Graham Swain, 'Water, ships, boats', Watercolour, body colour, oil pastel.

[enlarge]
Graham Swain, 'Water, ships, boats', Watercolour, body colour, oil pastel.

# 11 [14 March 2008]

Going sailing next week...for two days, but only if this low pressure increases.

My sketchbook is always in my head, just hoping my head won't always be hanging over the side...?!

# 10 [12 March 2008]

Restored the garden of two octogenarian's this morning...pruning all their neglected roses for health, strength and shape. It's always a pleasure when clients really appreciate what I do for them in their garden. But, all the time I was wanting to paint...but painting alone just doesn't pay the bills.

If the exhibition in Portugal actually happens I will be able to spend more time doing what I love best...creating...painting...

# 9 [10 March 2008]

Water, water, what a great day!...up and out early to witness the storm. Just the two of us on the beach looking across the wild horses getting absolutely drenched...fantastic...Nature in all her force and fury and beauty just cannot be replicated...only witnessed and remembered for future paintings...wonderful...

This project blog »

Page 3 of 4 :

Graham Swain

'Graham's response to landscape is contemplative. Creation becomes a challenge as every mark is considered as the aesthetic process unravels towards sublime resolution. Graham's preoccupations are undoubtedly formal, but his technique relies on more than simply a conscious arrangement of shape and colour. Graham aims to intuitively distil the essence of his visual experience in a much more unlimited way. Landscape provides the ideal motif; unrestricted by figures or buildings, an exploration is permitted which ultimately pervades pure creation.' Sally-Ann Schilling. MA History of Art, The Courtauld Institute of Art, Art Historian and Lecturer Tate Modern, London 1998

info@eartharchitecture.co.uk
www.eartharchitecture.co.uk/artist.html