TUBES magazine issue#13

painters.Tubes.magazines

#13 - excellent issue of painters from the USA and the UK

painters

T U B E S

magazine

#13


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“This issue will be the last ‘TUBES’ that will be free on line.

As much as TUBES wanted to keep the digital version free to read on

line it’s a sad fact that after 3 years Tubes can no longer

prolong subsidising the free version of the mag. Single and Annual

subscribers for the printed magazine and the on line mag are most

welcomed....many thanks for your past readership.” Denis

Editors Page

Hello and welcome to painters TUBES magazine.

This is our 13th issue of TUBES, unlucky for some? -

Not really, we don’t don’t believe in luck here at painters

TUBES magazine or at painters TUBES Artists

Showcase Gallery. We make our own luck.

What we do believe in is Artists and painting as an Art Form.

And in this issue there are some great artists and some super

original paintings for you view - And of course some really

engaging articles and special essays, with a few strong

opinions, all wrapped up in a beautifully designed magazine and

a with a touch of art history included for good measure,

expanding peoples knowledge and enjoyment- as is usual with

painters Tubes magazine.

We have a few more new writers in this issue, a very warm

welcome to Gregory Evans, an American artist based in France, who joins us as a regular

article writer. And our very own Marianne Arnberg who has narrated her take take on

the Russell Howarth interview, one that I was honoured to have carried out last year on

behalf of the magazine. TUBES have also included some of great photographs

Marianne took during the extensive time we spent with a legend of a painter.

These photographs are exclusive and most of them have not been published before.

And Paul Constantine, an American born Greek author who splits his time between

Europe and the USA. He is a specialists art writer who has contributed with a rather good

and concise history of the Barbizon School and it’s influences on ‘Plein Air’ painting.

To support that article I have written my own observations (as a painter) on the term

‘plein-air’ what it means and if it is still relevant to use that phrase today to describe

paintings. I’m sure many of you will disagree with my conclusions... talking about being

disagreeable.....Spike the latest grumpy-old art critic is swanning about Europe mainland

at the moment, so he will not be appearing in this issue, but he will be back soon.

I do hope you enjoy issue #13 - and as always thank you for your continued support

from me on behalf of all the team at painters TUBES [Sweden & UK].

Denis Taylor, Editor in Chief painters Tubes magazine. CEO of Studio 5 Sweden.

issue #13 - 2019©paintersTUBES magazine

LEGAL NOTICES

painters TUBES magazine ©2016-2019 all material is copyright of Studio 5 Sweden & painters tubes.com

All images and all art shown is © of their creator carrying the global creator copyrights [2016-2019].

All articles/covers/pages are ©painters TUBES magazine - Reproduction of any material in TUBES

magazine is strictly forbidden. Pirates & Thieves will be prosecuted in a court of law and reported to Google

for legal web removal under the Digital Millenium Copyright Act (Global Law). info: support/google.com


all photography ©Marianne Arnberg Taylor ©2018 M. Arnberg-Taylor & painters TUBES magazine©2019

Russell Howarth

‘from another perspective’

with exclusive photographs and narrative

by Marianne Arnberg. Edited by Denis Taylor


painters TUBES magazine featured the artist Russell Howard in 2017. At that time the Editor interviewed and wrote the

feature on the artist. The editor was accompanied by TUBES sub-editor and photographer Marianne Arnberg on the

visit to Howard Russel’s home. Marianne narrated her own observations about the artists from her perspective and has

provided the opportunity for TUBES to show our reader the many unpublished photographs that she took that during the

course of the interview in 2018.

Russell Howarth

from another perspective..by Marianne Arnberg

(edited by Denis Taylor)

We travelled to Oldham a town to the North East of Manchester by the new tram system on a grey and rainy day. As

a well travelled Swedish woman it was interesting to actually see the environment of a town that was, at one time, a

wealthy part of the North West of England, and yet despite that historic wealth, the area seemed to have been overlooked

for generations by successive UK’s government - the consequences of which were visibly evident. Although it has to be

said that the relatively new tram system seems to have be having a positive effect on the Town where the prospective redevelopment

programs could be witnessed by the hoardings that surrounded the old buildings. My observations of this

environment were to become important when looking and understanding the subject matter and the paintings of the artist

Russell Howarth.

The terraced home of Russell is located in quite a nice area with a public park nearby, it was clear to me (and confirmed

by the editor) that this particular part of Oldham was, at one time, an area where middle management or skilled workers

provided the backbone of the Victorian era’s industrial power house and lasted up to the late 1960’s before the Margaret

Thatcher ‘English Renaissance & Re-positioning’ of the society and destruction of the heavy industry, to keep in tune with

the modern western worlds switch-over to ‘services’ based corporations and banking.

The artist took a little time to answer the door of the neat terraced house, apparently he was expecting the Editor and the

TUBES photographer (me) - He welcomed us and invited us in through a corridor that led to his sitting room. He wore a

shirt and casual shirt with trousers that were held up by braces. What was a surprise was that he was barefooted - It is not

unusual (in Sweden) for people not to wear their shoes inside a home in winter, and guests are provided with ‘slippers’ -

but Russells’ bare feet style- seemed to be by choice,

This gave me an immediate impression that Russel was truly an artist of quite independent thought.

all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine


all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine

As the editor was engrossed in talking to Russell,

I was able to continue my observations of his

living environment - it was neat and tidy -

His wider connection to the outside world being

an old standard [British Telecom] dial-up type

of phone. There were very few actual paintings

on the walls of his sitting room, the decoration

of which seemed to hark back the 1950’s -

especially the wonderful chamfered shaped

mirror on the back wall - As the editor’s chat

lengthened it was clear to me that the artist really

didn’t care much about talking about himself

- what he had done and what he had achieved.

In Sweden this ‘humility’ is seen as the correct

and polite way to conduct oneself in company,

as apposed to self-promotion or bragging about

this or that, or overly egocentric about personal

prowess, which is viewed as very bad manners.

The pauses in conversations and indeed

sometimes the absolute silences, were only

broken by Russell’s memories of the past,

particularly those of his parents and of the

various (English) renown painters who visited

the Saddleworth art group to give talks on art,

a group that Russell had been a life long member.

(from 1951 onwards).


He was quite dismissive of these painters such as the well know ‘names’ such as Theodore

Major, as he thought they were ‘full of themselves’ and in their talks to the group tried to tell

the artists [who attended these lectures or talks] to the Saqddleworth Art Group, how to paint

and how not to paint. I too was unimpressed by these names, (because I don’t know them or

if I did, I wasn’t that impressed with their Art).

I was however, fascinated by the beautiful woven rugs and the fabulous design on the

wallpaper in the artists home. Russel seems to have kept the house exactly as it was from the

days when his parents were alive and he was child. The actual ‘memento’s’ were limited, it

was almost as if the whole house was a homage to the past, his parents and his early life as

gifted child, of which his mother and father seemed to have been quite proud of.

Denis (our editor and interviewer of featured TUBES artists) told me later that Russell

was born in 1927 [in Oldham] - At 91 years old (when we visited him) he is in remarkable

good shape of both mind and body. He earned his living by working for an engineering

organisation where he used his talent for drawing as a draughtsman technician. He retired in

1992 having spent some time as a part-time art teacher also engaging with his love of pottery.

all artwork ©Russell Howarth - reproduction strictly prohibited ©painters TUBES magazine 2018/2019


all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine

“painting seemed to

be everywhere”

After a little while Russell invited us to see

some of his art. And to do this we had to

climb the steep stairs to his bedroom. On

entering his bedroom it was clear to me that

the artist had prepared for our visit.

Paintings were positioned on the bed,

carefully laid out, more paintings were

stacked at the side of the bed also in fact

painting seemed to be

everywhere one looked.

Both Denis and I looked them over and the

Artist remained quite silent, allowing us the

time and space to absorb and appreciate the

work and study them in detail. He invited

us to take a look at some of his sketchwork.

These ‘sketches’ - (in my opinion

these were stand alone works of art in

themselves) were kept in a large ‘Victorian’

chest of deep drawers, and each draw

(four in all) were full of sketches - Russel

laughed as he told Denis that one gallery

come art dealer had visited him at home

and thumbed through the sketches saying

“don’t sell this one Russel, or, “reserve that

one for me Russel”, or “I’ll take that one

when you want to sell it to me.”

But the artist seemed totally unimpressed

by the back-handed compliment of the over

keen and commercially driven art dealer.

We looked through the sketches carefully,

I was very taken by the sheer technical

ability the artist demonstrated in these

wonderful graphite and pen and ink work.

The quantity reflected the life long art

practise of this extraordinary artist.


“I have some more paintings...”


“Some more,”....wasn’t an adequate statement”

Some more,”....wasn’t an adequate statement to cover what was to come.

As we entered the bedroom, which was the same size as the the main bedroom, there were three cupboards built into

alcoves from floor to ceiling and a small bed. Russel went to one of the cupboards and invited Denis to take a look

inside - The cupboard was totally full of painting on thin board organised and stacked neatly.

Denis began taking a few out from various stacks and examining each one - after a while - and with delight on his

face Denis said...

“...these are totally abstract” - Russell reacted quickly

“of course, they are all abstract.”


The artist said this with an assurance that he was all too aware of their unique quality of the integration of abstraction and

reality - using landscape as just a catalyst for their creation - This specific painterly visual art form, especially in the late

1950’s, and perhaps even today, was and is ground breaking stuff - No wonder he felt somewhat ‘insulted’ by the ‘semifamous

local artists’ some long time ago telling him how and how not to paint.

I asked him how he felt living on his own, he told me that how his neighbours and friends all keep ‘eye out’ even the

window cleaner pops round for a cup of tea brings him anything he wishes from the shops. And of course there was his

brother who is one of his closest admirers.

A little overwhelmed by the beautiful art that we had viewed in both the bedrooms, we returned to the living room where

we talked to Russel for another hour or so.


all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine

He shown us original catalogues from

1954 of the Royal Society of artists

exhibition and shared some personal

stories about his life, mainly about his

father. We had stayed far longer than

we could as our time table for seeing

other artists was a long list, but the 3

hours with Russel was an unforgettable

experience.

Denis told me that this unassuming and

modest artist is, he thinks, the most

misread modern artist of his own time

and even now placed into a genre that

he is not part of.

His work should be exhibited in public

spaces next to the ‘all time ‘ names of

Northern English Art ( that is: Laurence

Stephen Lowry, Theodore Major, and

William Ralph Turner. Perhaps one day

that will be the case, but for now he

remains content that his life’s work is

still continuing.

A new sketch was taped to a board that

was resting on the table in the living

room, Russell pointed to it and said...

“...that’s a sketch

for a new one.”

Russel’s love for creating art will

obviously stay with him until the end...

That is a marvelous yet to be written

end story to a great painter who has

undoubtly, to my mind, ensured of a

‘special’ place in the annuals of Art

History. I think I will try to persuade

Denis to write a book on Riussel, I’m

sure no one could write it better .


Russell Howarths’ paintings are held in a number of commercial galleries and in private collections, over for more

information on all the artists work contact: info@painterstubes.com

all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine


paintings

above: Old Victoria

24 inches x 20 inches

Below

Saddleworth Viaduct

15 inches x 18 inches

images provided coutesy of

Cheshire Art Gallery

Bramhall

Cheshire

“Russell Howarth

from a different perspective.”

written by Marianne Arnberg - and

edited by Denis Taylor - especially for

TUBES magazine- ©2019

original interview July 2018


Risk, Reinvention and Revolt

by Gregory Evans

image: the Happy Banker by George Condo - oil on canvas painted 2010 ©GeorgeCondo


Risk, Reinvention and Revolt

To go backward is to do nothing; it is pure loss; it means that one has

neither understood nor profited by the lessons of the past.”

Gustave Courbet

The first thing that an artist has to understand goes against everything that many artists

believe they stand for. Business is entrenched in the art world, and to wish to go back to

a time before is futile. It is no longer separate from our artistic endeavours. If we want our

work to be seen, and it must be seen, then it is via business that it is shown

- if the artists work isn’t seen, it has no reason to be .

Consider the Zen Koan...

“...if a tree falls in the woods and there is no one there to hear it, does

it make a sound?”

This is about action and response, or consequence, the two foundational building blocks of

our living universe. If there is no no response, no consequence, then it doesn’t concern us,

does it? Here’s our problem - artists, by nature of either personality, circumstance, or both,

are highly individualised, autonomous and singular. They drag themselves each day into

their attics, lofts, garages, studios, caves and spare bedrooms to be alone with themselves

and their muses, disdaining any form of interruption or distraction. They snub their noses at

just the thought of someone even daring to enter the god like, parodistic realms of creation

and trade secrets.

They fall prey to uninspired moments, blaming anything and everything outside of

themselves for the lack of performance while continuing to claim solitary existences in

self–defence (or self–preservation) saying that they care not for what others think.


Meanwhile, they thrive on compliments on their work and their coveted sales.

We’re artists – they don’t need anyone. (yeah, right, sure, artists don’t need anyone

...we say, I know because I’m an artist too)

If artists are able to achieve some level of success, they will feign being a team player,

acknowledging those around them with great thanks. Thanks to art agents, gallery owners,

curators, collectors, fans – having arrived at that place so rightly deserved. Artists can

thank all those around them for their loving support, but inside, artists still convince

themselves that really it was just them, and them alone that did it all. Wasn’t it?

That’s the twist, of course. Artists, really believe that this peripheral but cooperative

business activity is irrelevant to their actual creative process, the vision, the product.

It is the Art product that is what is great. It is an artist, in singular nature,

behind closed doors, who have created the cherished and beautiful work of art

– no one else had a hand in it.

The creations are like artists children – they bear a stamp, blood, sweat and tears.

But, when someone like a gallery owner steps up to represent an artist and the work, this

person is now contributing their own blood, sweat and tears to that work. This allows the

work to grow. If a collector steps up, then it grows even more. When two or more gather

around this energy started by an artist, the love of the work from others can make it huge.

Many need to contribute to make things great. No worries though, you can still put your

name on your work, but remember this, your work is not just yours...

“...its a lonely existence to exclude others.”

image: Gustave Corot “the desperate man”


When I was first asked by the editor of Painter’s Tubes magazine to write an article on Artists and Risk for issue #13,

I immediately thought I knew what I’d be doing. I had decided to take an academic approach to this topic. With a bit

of art history experience under my belt from those long ago college days, I started listing those artists from our past

and summarising their great accomplishments that were achieved by taking great risk. I gathered all the facts and was

tapping out words on my keyboard. On and on they flowed (fuelled by those pages and pages of notes). Over 1,000

words in, my hands flew up in the air, what felt like an ice-pick struck me in my forehead, and I suddenly realised that

my brain had solidified due to the coldness of the direction I had chosen; because of the unfeeling nature of what I had

written thus far. If I painted the same way I began this piece, I’d probably end up being suicidal.

So, I decided to change my direction...

“Passion is more powerful than

reason”

Alex Verdenne

So let’s get on topic here.

‘RISK’

I’d like to start by saying that first and

foremost, it’s not to those great artists who

already take risks

I address here, but to those who have

forgotten that it is by taking risks that we

become great artists.

Risk is an essential, for without that risk,

none of us would have ever become artists to

begin with.

So what is risk, and how does it apply

to what you do? Anytime you approach

the unknown and you leave that which is

comfortable for something that isn’t, there

is risk involved. Any time you face potential

rejection or ridicule or even loss of client–

base (income), you have employed risk.

Anytime you challenge yourself, and, for

example, decide to do something that you’ve

never done before, like paint a cubist–style

portrait when your usual is a realist take on

your subject, you’ve taken a risk.Many

risks can be taken with little risk at all,

except for the self-inflicted humiliation

we subject ourselves to when were not as

successful as we wished to be.

images: above: ´Dryad’ 1850mm x

1080mm Pablo Picasso.

opposite page: ‘portrait’ George Condo


Give it a shot anyway, go ahead and be bold, jump into that great abyss. There’s no need to blow it out of proportion

– its great to explore. Not all risks can be, or will be, life changing, and it is never the end of the world to deviate

momentarily, forgetting all you think you know. The necessary thing is that you risk, at least a bit, from time to time,

because some of those risks can, before you realise it, be life changing!If the risk you take, if your departure is far

from home, and it doesn’t please you, you can always return to what is familiar to take another risk another day. After

all, its just a one–off, and nobody says that you’ve got to share it with the world (that’s another, altogether different

kind of risk). Remember, anytime you return home from a daring journey, from some wild adventure, you might just

find that upon your return, you have actually brought something of value back with you alongside those few bumps

and bruises, and so this risk has brought growth with it, both to you and your work.

“I could roll myself in it, drink it, eat it and kill myself, suffocating in it.” George Condo

If you like the adventure, then do it again, maybe in a different direction. At some point you’ll find something worth

exploring in a deeper way. Taking risk becomes easy with practice and pattern, and really, what you’re changing

is only patterns of behaviour.Painting is pattern. It’s patterns of lines and shapes and colours. Its also patterns of

systems and certain behaviours and beliefs. It’s all those patterns you’ve established that provide you with a sense of

accomplishment, but those same patterns, those same beliefs, can also enslave you.

“The patterns available to you are infinite, and they deserve exploration.”

There’s no need to sit on the same rock every time you go for a walk in the woods. There’s so many other rocks to

enjoy. Beware if you feel that you’ve found some permanent solution, some eternal pattern, because if what you’ve

found is all that comfortable, really all you’ve found is a nice place to rest and you’ve forgotten the truth of the

journey itself!Taking risks are at the foundation of creative activities. How many of us didn’t risk something when

we first decided to paint on a canvas, bought some tubes of paint, picked up a brush, and started slinging paint around

the dining table, with only a bit going where it was supposed to.Painting is organic – it wants to change, to grow, to

evolve. Painting wants you to be its partner, it wants to dance with you to a song that’s forever changing. You can play

it safely, or you can go out on a limb for those finest fruits, those unreachable fruits, those sweetest fruits.Don’t let

your comfort stop you from being the adventurer you are. Be bold and be daring. Punk it up and scare yourself.

Loose or tight, Realist or Abstract – remind yourself that you’re not looking for what you already know...

but what you’re looking for... is what you don’t know.


“REINVENTION”

“What’s essential is that I paint, and accept that there’s something stronger than

myself.”– Alexander “Alexone” Dizac

It is risk, and risk alone, that allows for reinvention of one’s self and one’s work. Risk doesn’t require

that you reinvent yourself or your work, but it is the foundational practice that encourages, or at

least allows a reinvention to take place, if you choose. The two can work hand in hand, for as the

artist changes, so does the work, and as the work changes, so does the artist.Thankfully, many have

stepped up by taking those risks. Some more slowly than others, and that’s okay, but a wave has been

set in motion that can have us see great change in art and its presentation, – this is a wave that many

consultants, collectors, curators, and gallerists are now plugged into. Sadly, for others, it’s a wave that

many would choose to ignore.

As an example: since the internet has become such a powerful channel for the sales of art, galleries have

been trying to adapt to this new arena which is sometimes viewed as a challenger or competitor, thought

its not. The internet is only a tool, and like any tool, it must be seen for what it is, and it must be used

correctly. Galleries are not being reinvented because of this, and they won’t disappear, but their business

models are changing with the addition of this tool to the business repertoire. New models are being put

into place, new patterns are being established – that’s how we grow.We don’t have a lot of experience

to draw upon here, for the modern art industry was a fledgling entity just one hundred years ago.

In the late ninetieth and early twentieth centuries, with the invention and increased popularity of the

“new” camera, a few artists quickly stumbled upon a “What now?” paradigm.

image:©Alexone Dizac. “Do Aussie Mi Fili”


If anyone with a camera could now reproduce reality onto a flat medium, there was no longer any need for a painter to

paint traditional portraits, landscapes and pretty birds. There arose a need to ask what painting is for if its suddenly just a

time consuming method for creating what the camera could create, what the camera could do better. These artists didn’t

step up to change art itself, but to change what they were doing with art. They needed a reason to be. They took risks,

and they reinvented themselves.

“Show it through your eyes, don’t do it because ‘that art sells.’”– Todd White

It seems that an artist must question his motives for painting – motives must be examined. Is it some deep need or

compulsion that you do what you do, or is it for the money (real or imagined)? Are you just entertaining yourself

and never challenging your own vision? Are you resting on those laurels you’ve laid, your past successes and

accomplishments? Have you become content in your static existence, relishing in your apathy?Reinvent yourself.

Reinvent your portraits. Reinvent your landscapes. Reinvent your still life, your abstracts, your narrative, your story.

Be daring, seek new challenges. If you seek the perfect colour, the perfect brush stroke, the perfect technique, you can

continue on your search for that perfection, but remember, all those colours, all those brush strokes and techniques only

contribute to something greater than you yourself. They contribute to the final image, and that is what is of import here –

that is what we are creating.Really, if one really wants to tap the extremes of their imagination, one has to tap their own

personality, because it is through your personality that imagination passes.

One must be willing to confront head on the way one sees the world, because its this vision that ends up on the

canvas.Study those who have reinvented themselves and you’ll see art reinvented. Study those who have walked that

path before you. Study everything you can – absorb it all until you are filled with the work of others. Be a sponge.

Once you have filled yourself with all that you can, forget it, forget all of it – squeeze yourself dry and go do something

different, something you haven’t yet seen.

Open your eyes to see something different and you eyes will show you something that’s different.

The next time you consider painting the proverbial Honore de Balzac, do it with the same attitude that Rodin used when

he sculpted his Monument de Balzac. Take criticism where its offered, even if its a slap in the face, and then forget that,

too. People will eventually come around, but for now, seize your own greatness, and know that its yours.There’s nothing

like being awarded a badge of honour when you know that you really haven’t yet done something to deserve it. Growth

implies movement and change. If you’re moving and changing, you’re growing.

“This can only be done by risk and reinvention.”


REVOLT

I fear that I’ll have to follow my desires.”

William deKooning

Cultural change only occurs by revolt and revolt can only follow from risk and its’ resulting reinvention. Art is

no different. Change is born of a deep need to shake things up, from a deep dissatisfaction of the status quo. This

change may be a mild to fair departure from what is accepted, or it may be so extreme it disturbs and destroys the

whole of the cultural paradigm.

Whether we know it or not, it’s revolt that we are aiming for when we take risk enough to reinvent what we do

and who we are. What starts as a personal thing always must become collective if its to have the greatest impact.

This is why we cannot be alone, or stand alone.Everything moves in cycles – it’s all circular.

With revolution, each time we complete a cycle we find ourselves back where we started, only we’ve elevated

things, we’ve lifted things and been lifted with them into a higher octave. That’s why its called revolt, because it

revolves, but raising it up, lifting it into new realms, can only be done by choice. If we don’t lift things up, we’re

just running in circles, we’re screaming and shouting, and nothing changes and all things repeat. It might be

revolving, but its not revolting. It’s historical in either case.

“I mock Verbatim” Robert Williams

There are those ripples of revolt on the surface of our industry, but we must rise to that surface to see those ripples

for what they are. If we rest in comfort far below, we see nothing and we stagnate. If we rise just a bit, we can

sense there is something going on, but unless we join those at the surface, those that are part of this shaking, this

vibration, we can’t know it for what it is.

We can’t know what it represents, or where it could go. If we complain that things aren’t working for us, if we

moan about what we lack or what we deserve but don’t have, its because we are still denying ourselves and the

truth of what we could be. Looking up is not enough, we must rise to the occasion that awaits.

From Mannerism in the late Renaissance period, to the first effects of the manufacture of the camera shaking

up our soon to be impressionists and Fauvists, and the then later explosive popularity of that same camera

demanding a response from Braque and Picasso and others during the Cubist movement, artists have risen to the

occasion.

Long before art was an industry, artists have always stepped up to the challenge of changing public perceptions of

what the image can do. Now, we artists don’t stand so alone, we are not so autonomous, the world is not so small

a place. Those who have joined the milieu of the industry must show those same qualities that artists show – they

must push themselves and take risks, greater risks, and great rewards may follow.

Andy Warhol with his pop–realism was a lifting from the CIA financed movement called abstract expressionism.

Street artists transcending the mundane graffiti gang–tags and claiming our cities walls as their own canvasses

and later entering the studio to do more portable and longer lasting works were uplifting – its all revolving.

Its all revolt!Whether you’re an artist, consultant to the stars, curator, collector, gallery owner, or an agent, you

can always go one step further than you have. Artists cannot be the only one’s taking risks. We all can risk, we all

can play. We can dance with no other agenda than to be a part of something that could be great.

Rebel along with those artists who rebel.

Come into the dance like a child and do something that matters more than the bottom line.

“Redefine what you consider is success and failure, then you’ll find there is no failure.”


William De Kooning - woman series


History has shown us the one thing all movements share is money, a lot of money. The last hundred years have

made this even more evident. Movements have always been funded. Like water is to plants, money is to art.

Without funding, a fledgling idea can die before it is born...The abstract movement would have never happened if

only the artist had stepped up. It took a group, a large group of artists, gallery owners, curators and collectors, all

possessing an undying devotion to a new form of art to make what happened in France in the early 20 th century such

a substantial offering – an offering that has lasted a century and given permission to other, future artists to move

from the cubist ways in new directions. Cubism was a huge shift, and it was collectivity that set its momentum – the

money followed.Artists can no longer ignore each other – they can no longer be isolated in their own little worlds

of successes and failures. Artists must support each other , encourage each other, and all those in the whole of the

art industry must step up and NOT just support the individuals who create image, but must take on a collective

attitude towards something much bigger. When something good is happening, those movers and shakers have got

to look for the new talent and encourage cooperative attitudes. Artists can struggle with this communal ethos, but it

can be understood because it is the artist who is normally sequestered in their studios, buried up to their gills in wet

paints while neglecting even the need to eat – what artist has the time to manage a business when they have brushes

to clean? Things must be changed. Artists must change. We must become more inclusive, more wild and free with

ourselves, and no longer be confined by our personal and world-views of what being an artist means.

“The day is coming when a single carrot, freshly observed,

will set off a revolution”.

Paul Cezanne


We must all, from artists to collectors and all those between, step our our game and take bigger risks. We must all

imagine the unimaginable. We all can imagine – we each envision success, reward and recognition to some degree

for ourselves – but the power of imagination and its applications on our mundane lives is severely disregarded. We

have rules to follow – there are specific ways to follow if one is to achieve success. I ask, where would art be today

if it weren’t for taking risks?Our realities must really be stretched along with ourselves ourselves if we wish to step

beyond the ordinary. If we don’t reach out, we have no reason for pursuit in our lives, everything becomes static,

unchanging, and sadly comfortable. When you come up for some fresh air and see those ripples becoming large waves,

you can begin to live. When those ripples do start swelling with the power of collectivity, those willing to ride with this

new force in our fresh Post–Urban world, will stand to make a mark by their contributions to something bigger than

we can see right now.I don’t believe any one artist can ever change this world on their own, but if you feel that this

industry does need change, it will come only by risk, reinvention and revolt. Its not only the artist that needs to address

this, but if artists don’t change what they’re doing, then no one else can change things – we are at the centre of this big,

creative world, and we can’t expect others to do what we refuse to do ourselves. Collectors and buyers won’t change,

galleries won’t change, museums won’t change, unless we change So, all that being said, perhaps, as artists we need

to find support, love, admiration, collectors, representation and so on, or perhaps, just perhaps, we simply have to

imagine what has never been imagined before, and the rest will follow.

“In the end, everything depends on one’s self, on a fire in the belly with

a thousand rays. Nothing else counts.

Pablo Picasso


painting ‘plein air’

from before 1800’s to today


This is how Google explain what plein air painting is...

Plein Air from before 1800’s to today

part one

written by Denis Taylor Editor for painters TUBES magazine

“...en plein air is a French expression that means “in the open air.”

It is used by artists to describe the art of outdoor painting, capturing landscapes and views in

natural light. This kind of art has been a popular practice for centuries

and requires special skills and techniques.”

Mont Sainte-Victoire Seen from Les Lauves. Cezanne

Do you agree with that definition? Technically it is correct, well the first part is, I mean it is French for in the

open air, but what about the rest of the statement. Is it really used by artists to describe their work?

Or is it used more by Art professionals, galleries and social media platforms to place this sort of art into

a convenient ‘art’ box? - Personally I think the later rather than the former is correct, but does it need a special

skill ? Not really, painting is painting isn’t it? No matter where or what you paint with or even on, inside or

outside, it’s much more complex and involved than just the skill to do it - it’s more complicated than just having

some sort of natural talent or a gift for transcription of an object or scene that is in front of the painter.

So, why should any artist even mention the word Plein Air about how a work of art was created?

Wasn’t all painting in the plein-air at some point in time or another - or not?

Was the prehistoric cave dwellers painting plein air? I guess almost in the open, but not quite.

How about the early civilisations, Sumerians, Egyptians or the ancient Greeks?

Did they paint plein air? Quite possibly they did, who knows. Having painted in Greece myself I do know

painting in the shade is essential in hot climates, especially in the Summer months.


Ancient ‘Artists’ creating painting that have been discovered in the Chauvet Cave, Ardéche, France. These are dated

from 30,000 to 28,000 BC and makes todays artists consider the creation of art as an essential human condition.

(©DRAC Rhone-Alpes, Ministere de la Culture/AP images)

So, maybe it was when the ‘Artists’ became to be seen as more than the decorators of the ancient monuments, or

the recorders of battles and great victories or painting a portrait for a Ruler that the segment of the society known as

‘kalitechnis’ [in Greece translated as someone with good technique] - were seen as an integral part of the ‘civilised’

world. This is when Artists became ‘valued’ for what they could do for the Rulers and Religion. And not so much for

what they could contribute to the development of sensibilities for humanity as positive human beings. To be ‘kalitechnis’

was sort of special. And as the centuries rolled over, the word Artist also took on an air of ‘special-ness’ - As it was

seen as they were in touch with (the) Gods or the one God in the case of the Italian Renaissance. Even then though, the

artists were commissioned to do a paying job - that was to visualise and put the plebiscites in awe (and fear) of a God.

Religion had become a tool for education and control of the masses before and well past until the ‘enlightenment’.


Why that connection was made (Art & God) is still debated today - what’s that got to do with Plein Air painting, I can hear the

reader saying to themselves in critic of the writer ‘meandering’ off the subject. Well, it is related, tenuously perhaps.

However, I do not know or at least I cannot think of one, artist past or present who at some point in time has not worked outside

‘under God’s sky’ so to speak. Nor can I think of one artists that has not wanted to be in direct contact with ‘Nature’ quite literally

- even to the extent of suffering all sorts of discomfort, be that hot or cold, rain or snow or being bitten beyond endurance and

patience by various flying insects, ground ants and a whole range of nasty things that feed of warm blooded creatures like us

humans. Some artists even see this ‘self inflicted torture’ as a sort of badge of honour - “Here’s one I did in minus 23 degrees

centigrade conditions this morning.” ...is an exaggerated statement to quote maybe, but one quite close to the truth and not

that uncommon in the interminable volume of art blogs on the world wide web. It’s almost a stoic religion to paint in adverse

conditions. When Monet travelled to Norway to visit his son (Jacques) he was well into his 40’s - he is reported to have sighed

“Oh but I would have come here as a younger man, what wonders I could have done”.

two diffrent versions of Mont Kolsaas Marmottan - Norway painted circa 1885


elow “Snow, Storm, Steam, boat of Harbour’s Bay - J.M.W. Turner - Commons Wikipedia.

The experience is all for painters to choose for themselves - For example we all know the story of J.M.W. Turner

and how he strapped himself to a ships mast to experience the raging storm in the English channel (if you been in

one of those English channel storms, you’ll know how terrifying they can be, I know I have.) Putting down that sort

of experience in paint on a flat surface is more than just about the skill of imaging it - it’s capturing that feeling of

impotence against the power of nature - in paint - That goes for all emotions and conditions of the human, be that fear,

joy, happiness or even the feeling of being close to one’s God.

I guess one more practical good reason for painting plein air is... it’s cheap. If an artist can’t afford a good sized studio to

work in - plein air is a ‘natural studio’ that is almost for free -(apart from the cost of getting to the chosen spot of course,

but even that can be integrated into family holidays). It’s a challenge to maintain that direct experience of nature, a

feeling that can be effectively transcribed and placed down on a flat surface in paint in a studio and it does require belief

in the self as as artist. This belief may even be a little egocentric or indeed conceited, but artists need to have a healthy

ego to take on what may seem, to the many, as just too difficult to take on.

And if reality is what is popular (or a version of reality) and what people want - then the more important it is to

demonstrate artistic ability and therefore makes the work valuable and worth paying money for - Or so many artists

would have one believe. The absolute truth is - painting anything at all - is just about having the confidence to do it.

After that it’s a decision process.... “do I simply do what I can do? (make an image) Or do I try to do something that

is really difficult?” or: “Do I do something that I know will sell in a gallery or on the web?” These decisions are real

and difficult because painters, like every other person in the current fabric of society, are obliged to pay their way, and

put food on the table. Nothing comes for free in this western world we live in, unfortunately much of the public think

anything to do with Art is free and always should be free...

..And so say all of us...but please do tell me - who pays the piper and feeds the artists kids?

Part One of ‘plein air’ written by Denis Taylor Artist & Editor


Part Two

Short History of Plein Air 1800’s to today

written by ©2019 Paul Constantine and edited by painters TUBES magazine

One of the heroes of plein air painting that is rarely spoke of is John (Goffe) Rand - an American

born painter, who whilst living in Middlesex, England, developed a metal tube with a screw top

that could hold and keep fresh any ‘paint pigment’ mixed with a binding medium - oil paint being

the prime paint used by artists at the time. The patent was registered in the USA under Patent

number 2,252 on September 11th 1841. This was ‘taken-over’ by Winsor & Newton the renown

artists material suppliers and made available to the global marketplace in the same year - It

coincided with the young group of artists in France, who stimulated by the Barbizon group of

artists, took there easels, canvas and paint boxes loaded with TUBES out into the wider country,

cities and towns of France - and kicked off a revolution in painting. Later in life Renoir, one of the

leading impressionists, was to say...

“...without paint in Tubes there would have been nothing...”

He was of course referring to the paintings of the impressionists including himself, Monet,

Bazille, Pissarro and Sisley. And the two main established painters, who were responsible for

supporting and encouraging this revolution, only through their connection with them, that was

Manet and Degas (note: who strictly speaking were Not ‘impressionists painters’).


However it was the ‘Barbizon’ painters that were the catalyst impression and for these younger painters.

In the early 1800’s the idea of painting ‘Landscapes’ from life as a finished work of art was considered

crass and not worthy of being labelled ‘a work of Art’ by the art institutions in Europe, and Paris

in particular. The rigid ‘rules’ set down by a few has persisted through the years, even if Art was

eventually to have been freed from their clutches, it is now evident that art soon comes under control as

the academic leaders always tend promote the art sanctioned by the preferred culture of the State.

It was perhaps John Constable, the English landscapist who, despite being frowned upon in his own

country, was highly regarded in France by artists.

His work and the ease of access to the forests of Fontainbleu, south west of Paris, encouraged artists to

spend time in the area (around 1817) painting outside and capturing nature in its glorious complexity of

forms and colour. The first 20 new arrivals being attracted to the area to paint ‘trees’ for a competition

where a monetary prize was up for grabs. It was also fortunate that these painters could lodge at an

Inn, run by the Gann family, which was cheap and very friendly. Mrs Gann, providing sandwiches for

the artists ‘lunch’ to eat and ensure they could paint a full day before returning to a hot meal washed

down with good wine. Not surprisingly the Inn of the Gann’s became the central (unofficial) HQ of the

Barbizon artists, where they could discuss their new ideas as comrades.

The full list of these painters is extensive, today only a few names are known to a general public, but the

main artists are as follows: Théodore Rousseau, Jean-François Millet, and Charles-François Daubigny,

Jules Dupré, Constant Troyon, Charles Jacque, Narcisse Virgilio Díaz, Pierre Emmanuel Damoye,

Charles Olivier de Penne, Henri Harpignies, Paul-Emmanuel Péraire, Gabriel-Hippolyte Lebas, Albert

Charpin, Félix Ziem, François-Louis Français, Émile van Marcke, and Alexandre Defaux. (note: Corot

also painted ‘plein air’ in Chailly Forests in 1822).


Paintings above: Corot. Forests of Fontainbleau 1830. below: Rouseau. Barbizon (circa 1840’s)


Of course many more artists visited the area including

the young impressionists artists.

At this time ‘oil paint’ was loaded in ‘pig bladders’

The introduction of paint in TUBES in 1841 was a full

23 years after the first Barbizon paintings were created

(1817) it must have been an astonishingly liberating

experience for the artists. It is important to realise that

the Barbizon played a huge part in the globalisation of

painting under the roof of nature.

William Morris Hunt, an American artist who spent

much time with the painters of the Forests of Fontinbleu

and owned many paintings by them was to become one

of the leading painters in the nineteenth century when he

returned to Boston, (USA)

after his father had passed away in 1832. It was he that

brought ‘plein air’ painting to the Americas where it

blossomed into the American School.

By 1860, the tools for painting plein air had been

improved and increased as the demand increased.

For example in 1860 collapsible easels with boxes

built in for painters Tubes were marketed and in 1863

an improved canvas to pasteboard to prevent warping

was patented by Albert Collins (Collins Canvas Board)

and sold widely. By 1867 a stippled textured panel was

also introduced (to the American market place) which

imitated canvas paintings.

Business was not slow to latch onto the new ‘fad’ of

painting plein air. Artists now freed from the constraints

of studios and subject matter, exploded onto the Art

scene. The extent to which plein air became popular

started to ‘taint’ it with an amateur art ‘weekend painter’

status as the twentieth century progressed. By the

mid twentieth century ‘plein air’ painting was all but

abandoned by ‘serious artists.’

The term ‘plein-air’ seems to have been replaced

by ‘observational sketching’ and then taking these

studies into the studio for production for their gallery

representative to exhibit.

Painting was slowly becoming a product.


It may seem odd that whilst Van Gogh, Paul Gauguin and Cezanne

were held in the highest of esteem by painters (all three painted

plein air, in the main) even Matisse and Picasso admitted these past

artists were their masters. It was another form of art that led the

art world and the living artists of the mid to late twentieth century

looked towards intellectualism rather than emotional or spiritual

connections to create a visual two dimensional figurative based Artform.

However, plein air had not ‘died’ as an art practise, it had simply

gone underground. Painters maintained a passion for working

direct from nature. The challenge of capturing the light and how

it interacts with the earth, the trees, the rivers, the ocean etc -

everything on the planet in fact, was a challenge that could not be

resisted by gifted painters who wanted to feel the exhilaration and

the sheer enjoyment of painting in the open air.

Today many artists who paint nothing but plein air work are

still frowned upon by the ‘art-establishment’ - but the www has

created a new marketplace and a global audience for these artists.

Landscape is still the number one subject as far as the public are

concerned. And landscapes painted plein air add to genré which

‘out-sell’ all other painted works of art.

However, many painters are approaching ‘plein-air’ in a different

way today - Mixed media, charcoal drawings, mixed

drawing and paint canvas which are presented as finished

art works are showing themselves in greater numbers.

Artist are experimenting with form, medium and effects.

Abstraction of nature freely juxtaposed with absolute

reality. Traditional landscape composition is also being

challenged and re-invented by artists to alter perceptions

of the natural works using the infinite microscopic

patterns and structures of nature.

All of the works created in front of nature, with

instinctive and educated placement of pigment on canvas

or board and the benefit of the ‘feelings’ an artist

receives from working with nature.

Images top: ‘The Old Oak by Jules Dupré’ c.1870

bottom: Winslow Homer

Artist Sketching in the White Mountains, USA

Short history of ‘Plein Air’

Written by Paul Constantine

edited by painters TUBES magazine

2019 ©PaulConstantine//painterstubes.com


Artists today choosing ‘plein air’ methods and nature to

create wonderful works of Art

painters TUBES is delighted to bring you five artists who are creating works of art by employing the advantages of direct connection

with nature. The art shows how contemporary painters are constantly searching for new expression and exploring different

mediums to gain that spontaneous mark making that creates something which is truly authentic and original painting. The examples

shown need no critic from me or extensive explanation to the reader.

The quality is self evident. If the reader wishes to know more, all these excellent artists are known and visible on the array of social

media, or you can contact Tubes with any questions you may wish to ask - visit www.painterstubes.com and go to the ‘contact’

page on our web site, or email TUBES direct on info@painterstubes.com

Amanda Oliphant graduated from

Liverpool John Moore’s University

with a BA Hons (1st class) in Fine

Art in 2005 followed by a one year

Fellowship at Wirral Metropolitan

College in 2006, where an exhibition

at the Williamson Art Gallery showed

an extensive collection of her work.

Amanda then undertook further study

with an MA in Art as Environment

at Miriad, Manchester Metropolitan

University allowing continued

research into Art and Ecology.

What Amanda says about her work:

“Painting both outdoors and then

back in the studio helps to build a

painterly story, expressing many

layers that sometimes I have to walk

away from, find time to reflect, and

then return. They are a re-connection

to place, an interpretation of the

natural world.”

‘Journey’ Series of work

100 mm x170 mm Created May 2019

‘Journey’ Series of work

100 mm x160 mm Created May 2019


‘Journey’ Series of work

100mm x180mm Created May 2019

Below: ‘Journey’ Series of work

100 mm x160 mm Created May 2019

Below: ‘Journey’ Series of work

100 mm x160 mm Created May 2019

for more information contact: info@painterstubes.com


Brian Cote

Here is what Brian has to say about his

work: “As a painter, it is my desire to bring

to life what may appear as ordinary and to

transform it into something extraordinary.

To awaken in the viewer a passion for life

as expressed by my passion for painting.”

Today, I am quite drawn to works by

Russian Impressionists both past and

present. I find their freedom of paint

application and abstraction combined

with the earthy, root of reality to be most

beautiful.”

“I’m in love with the sense of colour, light,

movement and the feeling of structure and

weight in their compositions. In my own

work I strive to use these elements to the

fullest of my capability. I create my art with

these ideals and I paint from life because

I feel that the artist and his work are an

extension of that spirit and can only

be expressed by immersing oneself

into that energy.”

above: Buenavista 50 inches x 60 inches

below: Sonoranwash 44 inches x 72 inches


South Mountain

Morning

34 inches x 56 inches

Cloudy morning

light. 20 inches x 30

inches

the beginning of

summer

18 inches x 28 inches

for more information contact: info@painterstubes.com


Helen Skidmoore

Tubes do not know much about Helen,

othan than her work speaks volumes about

her ability to capture nature in charcoal.

Currently she is studying for a masters

degree in print making and one can see

by these examples what her work in that

medium may look like.

It seems that if these can be translated

as copper etchings then they will be an

important contribution to that specialist

art genre as much as any previous in past

centuries.

Her inspiration comes the coastline and

nature reserves of Devon in Southern

England.

website: to be released.

for more information contact:

info@painterstubes.com

Charcoal Drawings

Top: “Storm coming in private

beach” - 580mm x 420mm (2019)

Bottom: “Turning Point.Walk at

high tide.”

580mm x 420mm (2019)

Full page right hand side:

“Treovis Trees.”

580mm x 420mm (2019)


“Wanson Tide”. 580mm x

420mm (2019)

“Windy Wanson”. 580mm x

420mm (2019)


Stephen Stringer

The artists studios are within an old Mill which is located at the foot of the

Pennine Hills of Northern England.

Stephen has been painting for over twenty years and his work is dominated

by his environment, although he does venture into abstraction and still life

canvases, occasionally.

The base for his technical skill was formed through the tutorship of an artist

who is the leading painter in the Saddleworth Artist Group

(John McCoombs).

Although largely self-taught Stephen is naturally talented and a well liked

painter in the North West of England with both his fellow artists and

art collectors alike.

His current ‘style’ is adopting the loose brushed approach that is can seen

in contemporary studios throughout the UK, although Stephens immediate

application is assured with an obvious natural talent and a strong sense of

balanced colour and tone that comes from an accomplished painter.


oth these examples are form Stephen Stringers recent set of ‘plein air’ paintings

for more information contact: info@painterstubes.com


Richard Suckling

After studying at Cambridge School of Art (UK), Richard was as an illustrator in

London. The past ten years have seen an instinctive progression from graphic art to

painting, mainly pastels and more recently, acrylics.

Richard moved from London to Somerset and then in 2013 to Newlyn in Cornwall,

five miles from Land’s End, from where he draws most of his inspiration from.

Richard believes in painting what you have a real passion for and know best and the

Penwith peninsula in West Cornwall provides him with an endless daily inspiration for

his work.


Richard Sucking examples of work

for more information contact: info@painterstubes.com


in their own words...

in this issue - Mark Lloyd, Barry De More and Niki Heenen

talk about their Art

artists if you wish to talk about your art on these pages contact: info@painterstubes.com


ON LINE - NOW ONLY £2.00 per issue

(subscription for six on line mags) www.painterstubes.com

single printed issues now only £10 + p&p - www.painterstubes.com


Mark Lloyd

an artist talks about on his own Art, in his own way.

Thank you kindly painters tubes for taking and interest in my work and allowing me an opportunity to discuss

my work and it conceptual structure and aims. A few basic overview points need to be established to provide

a good understanding of what my work is about and what I am trying to achieve. I have been a practicing

artist for 27 years but have taken my practice much more seriously in the last 9/10 years. I studied a degree

in fine art at Falmouth school of art and a master’s degree at Winchester school of art. I have had a studio in

Bournemouth for the last 9/10 years and I occasionally employ studio assistants to help me with my work.

I mainly work in painting but have produced work in; screen printing, digital formats, installation,

projection art, sculpture and ready-mades, public murals. But painting has remained a constant and

foundation or my art.

My Methodology starts with Research and I read post-modern philosophy/contemporary philosophical

ideas and critiques about modern times, explore and experiment with painting methods and approaches to

critique the ideas that fascinate me, I draw in sketchbooks and use Photoshop to quickly format ideas, that

later through development become series of paintings. Stylistically my Processes in painting utilises abstract

expressionist methods, graffiti art painting and drawing methods, and 20th century figurative painting

methods. In the Process of painting utilises abstract expressionist methods, graffiti art painting and drawing

methods, and 20th century figurative painting methods. I also employ layering in painting of imagery, marks

and gestures, colours, textures, shapes and use painting as writing and writing as painting.

I aim as an artist is to create a body of artwork that explores and critiques modern times and my experience of

present society and culture through the means of painting (and other art mediums and practices). I have mixed

feelings about the artwork I have created, in that my earlier work which is naïve in conceptual structure and

methods and techniques of painting actually embarrasses me, however it was a necessary stepping stone

or learning process to get me where I am today. However my new work from the last 9/10 years I feel is

successful and accomplished in concept and the painting in itself. I am proud of my work but fully understand

I have a long way to go on this journey.


The two series of work I wish to to discuss

are entitled Wonders and imperfections of space time

compression theories

This series of painting began in 2013 after reading David

Harvey’s -The Condition of Postmodernity 1989.

In his work based on earlier writings by Karl Marx

in the theory of the “annihilation of time and space”.

Harvey discusses the ideas of space time compression

and that due modern technology and internationalization

are experience of time is accelerated and that this

“acceleration destroys space and compresses the time in

ways of perceiving reality” Virilio 2001.

Doreen Massey also discusses David Harvey’s

ideas about time-space compression in relation to

globalisation and its effect on our society and she

stated that; “our world is “speeding up” and “spreading

out”, time-space compression is more prevalent than

ever as internationalization takes place. Cultures and

communities are merged during time-space compression

due to rapid growth and change, as “layers upon layers”

of histories fuse together to shift our ideas of what the

identity of a “place” should be” Massey 1994.

These ideas fascinated me and seem to be

fully realised in the age of the internet.

I began working on a way to visualise these ideas in

paint. After a discussing with a friend of mine who

is computer technician he told me about a computer

program that if you input a digital movie into the

software program, the program compresses the visual

imagery of the film (2-3 hours) into one visual image

still. This seemed a visual artefact of time being

compressed and had a visual similar appearance to

a barcode. The process on the software program to

compress the movie into a still was quick, I wanted to

subvert and play the concept of time in image making by

replicating the image in paint which

would be a very slow process.

The whole methodology and process exploited the idea

of ‘time in image making’. I realised by using films/

movies that posited ideas about how technology is

changing our perception of time and reality I could add

further meaning.

Also fascinating is that the films/movies are figurative

and realism and by processing the data through

software the image became

abstracted through compression.


I worked on numerous experiments in different paints and

techniques to produce paintings that reflected the compressed

still abstracted image and the solution was found working in

spray paint and oil. I used masking tape to stencil or create

ridged boundaries and shapes in which I graduated the spray

paint or dragged oil paint on a sponge, slowly layer after layer

the painting processes began to replicate or visual represent the

compressed computer images of the chosen movies. I believe

that this series of work which is continues and ongoing, is

conceptually tight and by utilising masking tape surprisingly

freeing in expressive gesture and paint application.

The process was forgiving in a painterly context. I think the

paintings conceptually ask the question; if digital technological

image making processes annihilate space and time of reality

and the image, does the painting processes facilitate a rebirth or

victory to condense time/reality

into an intimate precious moment?

If technology distorts our experience of reality can painting

provide a truth or clarity of experience of reality?

Harvey, David. The Condition of Postmodernity: An Enquiry

into the Origins of Cultural Change. Cambridge, MA:

Blackwell, 1990 Paul Virilio - Decron, Chris. Speed-Space.

Virilio Live. Ed. John Armitage. London: Sage, 2001. 69–81.

Massey, Doreen (1994). “A Global Sense of Place”. Space,

Place, and Gende Post modernity hermeneutics

The second series of ongoing work which is entitled ‘Post

modernity hermeneutics’. Once again this whole series

conceptual frame work was influenced and constructed on

postmodern philosophies and in particular the work and ideas

of Fredric Jameson and the idea of “The waning (flattening) of

affect” that appears in his work Postmodernism or,

The Cultural Logic of Late Capitalism. Jameson stated that

The waning (flattening) of affect” is a “a whole new type of

emotional ground tone—what I will call ‘intensities’—which

can best be grasped by a return to older theories of the sublime”

He states that the general depthlessness and affectlessness

of postmodern culture is countered by outrageous claims

for extreme moments of intense emotion, which Jameson

aligns with schizophrenia and a culture of addiction (mainly

to technologies). With the loss of historicity, the present is

experienced by the schizophrenic subject “with heightened

intensity, bearing a mysterious charge of affect , which can be

“described in the negative terms of anxiety and loss of reality,

but which one could just as well imagine in the positive terms

of euphoria, a high, an intoxicatory or hallucinogenic intensity”

Jameson (1991). Jameson’s idea of the ‘Flattening of affect’ is

a scientific term describing a person’s detachment and lack of

emotional reactivity and is used in the postmodern literature to

describe technology’s dehumanizing impact.


A key example is the movie 2001 A Space Odyssey where the main characters lose their humanity whereas the computer HAL

gains “his”. I see these ideas as we all do occurring at greater intensity’s in our modern societies and cultures, as technology

invades completely into the human experience, and as our technologies become closer to simulating humanity and humanness.

It was these ideas that I began to make paintings about in 2012 and have continued to make work about to this day. I

believe these paintings to be within the zeitgeist and have great relevancy. I began making the paintings by experimenting

and exploring in my sketchbook and on digital art software tools. I looked for examples of the theories in every day culture

and in popular culture artefacts and realised the conversations between humans and Ai. technologies from intellectual science

fiction movies perfectly illustrated Jameson’s ideas and concepts.

I employed the painterly practice of ‘painting as writing- writing as painting’ and wrote the words from quotations of science

fiction movies which were examples in concept of the ‘flattening of affect’ onto the canvas and left no grammatical gaps.

This created a confusing overload of information and an abstracted image/pictorial surface and a framework or structure

on which to paint. The works of text became an under drawing on which to paint and create marks and textures. This series

of paintings can take a long time to produce as they utilise a multi layering processes of building shapes, textures, colours,

gesture and mark marking. This evokes an ‘intoxicatory or hallucinogenic intensity’ in paint, a visual and painterly approach

in surface treatment and pictorial outcomes. Often when people have written about these paintings they have wrongly

labelled them as post graffiti, they are not. Stylistically they are more related to abstract expressionism and the work art of the

conceptual artists of the late 1970s early 1980s. As this series of paintings has progressed over the years I have on occasion

tried to introduce figurative elements into the paintings, I have found this difficult and have had effective and less effective

results and outcomes. Due to the painting process these works only really work effectively on large canvases due the nature of

the busy diverse pictorial surface.

Postmodernism or, The Cultural Logic of Late Capitalism- Fredric Jameson (1991)

(For more information you can contact Mark at his website:https//lloyd-fineart.com )

images and writing ©Mark Lloyd 2019 & referenced named or quoted essays


Niki Heenan

Thank you for asking [about my art] here are a few thoughts:

A sheer curiosity of the natural world is what drives me as a painter. The combination of

myths and legends of a location with the physical attributes of the landscape combine in

a form of duality that creates an image in my mind. The sense of belonging or searching

for remanent connections from the past dig deep into my soul and nature reveals itself in

surges of energy through light and form.

There is no telling where I might find such places and I often come upon them them by

accident when searching for some thing else but as they say in Ireland ‘the veil is thin’

gives us a link into something far more resonant than painting a picture of something

but rather a picture that is something. Storms and bad weather provide heightened

sensations via the ionised particles in the atmosphere - these are the qualities of nature

that draw me into creating work in nature, for I wish to create experiences.


Barry De More

My studio is in West Yorkshire.

I am primarily self-taught with over 40 years experience. My early development

as a painter began by studying some of the great paintings in the galleries up

and down the country. This meant looking at these works quite attentively and

on occasions making drawings. I had the same approach when looking at art

books, making copies simply to learn how to draw.

I began painting seriously in 1976 and the main painters who influenced my early

studio practice (although there were many others) were Rubens, Caravaggio,

Titian and later Constable and Turner; then it was the French Impressionists

and not forgetting Walter Sickert (British) who made a profound impact on me.

Finally I saw the work of Auerbach and Kossoff which lead me into neo semiabstract

expressionism. They taught me to be more courageous in my approach

to what painting could be. Kossoff’s work showed me how painting could be

drawing and drawing, painting.

My primary source of inspiration is from observation and I have always given

precedence to drawing. I find that for me drawing begins the intimate relationship

between the subject and myself. The drawings are more than topographical they

go beyond the representational as I seek for an expressive language to interpret

what is before me. It is always a case of asking, “how do I do this?”

This is because every painting is new and has a new approach.


painting shown on these pages:

Top left hand side:

“The Lock at Salterbridge.”

Bottom Centre:

“Skew Bridge Todmorden.”

Top right:

“Greenwoods from the Library, Halifax,

West Yorkshire.

all paintings ©Barry De More

Back in the studio I work from sketches or photos, this is the starting point,

but as the painting develops it can be changed many times and then the

drawings and/or photo is discarded as I work more and more with my

feelings and responses to the painted surface of marks and shapes.

To me the painting can turn out to be a total surprise from how it began and

I find I’ve created something ‘new.’ This all comes about because

I paint quickly and do not allow myself time to think too much, because long

concentration on a given area takes away from the fluidity of the making of

the painting.

During the actual making of the painting I use a rigid kitchen knife to create

furrows into the paint, which adds to the overall energies of the painting.

I like to work wet in wet with quite heavy impasto gouging into the paint in

order to add another dimension of expression to the drawing into the paint.

The thick paint texture is not to create a ‘look’; instead, by building up the

paint I try to make something that works and that looks like a painting.

It takes courage and a certain amount of risk to keep going even though it

may look wrong. I continually work the painting as I do the drawings and

I continually destroy and remake until something comes alive.

As a serious painter I am constantly looking for a way to express my warm

feeling for Yorkshire, its landscape and its people.

I was a mature student at Bradford College of Art and gained my BA (Hons)

in Fine Art (Painting), this was followed by a teacher-training course at

Huddersfield University where I received my PGCE in Further Education.

Barry De More


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