Studio Shows 2

Episode 2

Working across different disciplines adds an element of confusion to the casual studio visitor, or, in one case it was somebody who wanted to see some work for a local show. Being familiar with the range of my children’s illustrations, the first thing she saw in the studio were several very large non-figurative paintings and lots of smaller ones. Puzzlement and doubt abounded. There was nothing cozy about these things. Had she come to the right place? How to extricate herself?


This was symptomatic of the reaction of many visitors and has led to me providing a brief tutorial in order to clarify this. Let’s start with the ‘abstract’ stuff.

My explanation was, and is, by invitation only otherwise the listeners boredom levels would be severely tested. Their interest was genuine and any hint of a patronising attitude from me would be spotted at once.

The gist of my riveting talk turned on learning the history and the language (or lack of it) of painting. As it is with literacy or numeracy or musical notation or culinary techniques, the study of these things is crucial.
Otherwise, without the background knowledge of ‘reading’ paintings then the the lure of conventional pedestrian ‘proper pictures’ in all their tedium prevails.

Does one tackle this with a barrage of words? Heaven forbid.
Consider this. After having enjoyed a play, or a novel, or a collection of poems, would you like to see a series of pictures to further increase one’s understanding? Or, conversely, does the visual experience have to be translated into mountains of words? Of course not. I once had a show where the only words were ‘fire exit’, and that was because it was compulsory. As somebody said ‘painting is about painting, everything else is about everything else.’ Quite so. Study it, learn about it, look at it, and even try it. Then forget the words.

There is an art to writing about art, some of which can become so wrapped up in itself it becomes incomprehensible. I like to call this ‘Art Bollocks’. For an irreverant post on this subject click here!

As previously mentioned, illustrating childrens books has been quite a successful venture. And along with Ronda’s superior literary skill our Lighthouse Keeper books have kept us both busy for over 40 years. Being published by Scholastic they have been a hit in schools, with hundreds of lighthouses being crafted by kids all over the world!

Some years ago, Ronda and I were doing a school visit in London. For some reason, we worked with the kids in a lecture theatre, at the end of which was a grand piano. It was lunchtime and I was on my own finishing off some session pictures for my young audience. At some point a young man appeared, asked if I minded if he did a rehearsal on the piano. ‘Of course not’, I replied, ‘can I come and see?’ He was doing that wonderful warhorse, the piano part in Beethoven 5, a piece I had known since I was about 4 years old. His concert date was pretty close. He was nervous.
He had umpteen goes at the start of the rondo. I approached the piano. ‘Look at this,’ he said, gesturing to the left hand page. He played a bit. ‘Now look at the right,’ he said.
‘You can see the problem! Bloody difficult, fancy a go?’
Of course, I could not see it at all. All I saw was a series of black marks on a piece of white paper. He looked at these marks and his head filled with music. This language was incomprehensible to me. My head filled with nothing. Not a hope. The music of top class painting is the same. It is wordless and deeply affecting.

From musescore.com

And of course, the dross of the ordinary in this venture is just as evident and as easy to spot. There is acres of it. This can be very confusing. Online websites are full of the stuff, so much of it is of spellbinding mediocrity. More explanation required….

Go back to Episode 1 of Studio Shows

[A coda: Back to the lecture theatre type experience with the children….

Making images for children is wonderfully unequivocal and almost totally wordless. The scene is a draughty assembly hall. 200 kids, years 1 and 2 are settled down and expecting a good show. So, get to work and then grab them and hold them, but be quick about it. Do that and the rapport is a kind of silent and magical electricity. The children almost take all the oxygen out of the air. At the end, nobody wants to leave, including me and the teachers. If you are not up to it, death is not lingering, it is immediate and horribly final . Children don’t mess around with platitudes. This activity is not for the faint-hearted.
In which case, go and do something else…..]

Music Box – Salome

Salome

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Salome, Acrylic on paper, 70 x 35 cm

The original play ‘Salome’ was written, in French, by Oscar Wilde. Richard Strauss saw the play and immediately set to work on producing a German operatic version. It was duly performed in 1905.
What with a heady mix of the biblical, the erotic, and the murderous all wrapped up in splendid music it was controversial to say the least, and banned in London until 1907.
Towards the end of the opera, after quite a bit of to-ing and fro-Ing, Salome, who must have been quite a girl, performs the then startling ‘dance of the seven veils’ before the besotted King Herod, finishing up lying naked at his feet.

Herod then promises to grant her most desired wish….. which, of course turns out to be the head of John the Baptist. Said head is duly delivered and is fervently kissed by Salome. Goodness. The climatic music is extraordinary, a much debated chord seems to echo the degradation of Salome. This lowly state does not last long, the lovely girl being crushed under the shields of the soldiers. Not too many jokes, but wonderful stuff.

This painting is currently available to purchase / for exhibition. Please contact me for more details.

The clip below is taken from the official youtube channel of the Royal Opera House.

 

Fragments

New Series of Works Titled Fragments

 

This series of small paintings contain fragments of other works, either in theme, or utilising actual re-worked sections of larger paintings. Some have repeated iconographies,  and contain collage and appropriated elements.

Fragments

The paintings themselves are on paper, which is then mounted onto small square canvases, so that there is no glass interrupting the viewer’s experience of the textures and intensities of colour inherent in the work.

Scroll down for individual photos and titles of each piece. These will be available to view along side larger work, in my studio during Artwave from 18 August, or at any time by appointment. You can also contact me by email if you are interested in exhibiting or purchasing any of my work.

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Table by the Window 2

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Mosaic, Sicily 1

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Still Life with White Vase

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Toreador

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Harbour

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Garden With Fence

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Table by the Window 1

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Chrysalis

Evening Scapa Flow
Evening / Scapa Flow

Bird Bath
Bird Bath

Glyndebourne Exhibition

Changes to information… keep scrolling for the important bits!

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Glyndebourne Festival Gallery is open to Festival ticket holders only.

www.glyndebourne.com

You can visit my studio at any time by appointment,

email: info@davidarmitage.com or call: 01825 873477

You can also contact me via social media:

facebook @armitagepainting | instagram @armitage.painting