Back in 1973 I won a prize at the North Shore Arts Festival in Auckland. My painting was considered by some to be quite controversial at the time and it has certainly been eye opening (and perhaps shocking!) for my assistant who has been reading and copying the old newspaper clippings and articles from that time.
As yet I have been unable to locate a colour image of the painting, but the colours would be similar to those in this blog post about some other works of mine from that period, which are still in the collection at the Auckland Art Gallery Toi O Tamaki
Below are a few of those newspaper articles and clippings which I have kept in a scrap book for many years, but which my assistant insisted must see the light of day – she seemed to find it fascinating and thought others would too.
It seems I caused rather a stir, some of the opinions written in to the papers are hilarious – or infuriating – depending on your viewpoint.
This – signed ‘Not a Prude’ – is a particularly ugly example (the original clipping is rather damaged so I will quote a section):
Two ugly, course, grotesque figures, sprawled out, one in a most disgusting attitude, and not in any way pleasing to the eye…. why not paint two nice young girls (nudes, if he likes) with lovely long flowing hair, throwing a beach ball.
From the opinion s section of the North Shore Times Advertiser, February 1973
I feel that the author of this letter has said a lot more about himself than the painting – and not in a good way!
Here is a more positive one though:
In fact there were many positive responses, and the painting was bought by Grahame Chote, collector and director of the International Art Centre, Auckland. I recently got in touch with his daughter Fran Davies who is now the director, and she was able to provide me with this image of the painting in their downstairs gallery in the early ’70’s.
The following article is Grahame’s response in the Auckland Star, to the controversy surrounding the painting.
And from the newsletter:
He was not the only interested party:
I would love to know who those ‘American tourists’ were! [Ed.]
However, the controversies continued:
You never would have thought I was such an enfant terrible in my youth… would you??!!
My latest series of paintings, inspired by landscapes and our precious planet Earth. Semi-abstract, giving an impression or an unconventional view.
These paintings are created on paper, utilising techniques which I have developed in both branches of my practice – painting and illustration.
Inks, watercolour, dyes, acrylic and a form of monoprint are combined to give depth and rich colours. High quality aquarelle paper in the perfect base to absorb and hold the vibrant waterbased inks and paints.
My native Tasmania and Australia are still a strong influence. The baked landscapes, colours and forms crop up again and again. The land will remain forever in my blood.
Obviously Sussex, and the landscapes of the South Downs National Park have also been a strong influence. And those who have visited may recognise the looping curves of the Cuckmere.
All of these paintings are mixed media on paper, and can be purchased framed or unframed. A selection are currently on display at Studio+Gallery in Seaford, June 6 – July 7. They are also available individually or as a set for loans or exhibitions. Please contact me for further details.
Many thanks to all those who have already been to see my new exhibition, over in Seaford, at the brand new Studio+Gallery. Below are some shots of my paintings in situ at this lovely exhibition space. All of the paintings are relatively new, mostly created this year, and include work from both the Earth Watch series and the Still Life series.
The gallery is a beautifully renovated space, with crisp white walls and professional overhead spot lighting, which habits the ground floor of a lovely old town house in one of Seaford’s oldest streets. The scale of the space demonstrates how well my work can sit in a more domestic setting.
The float mount used to frame these works on paper, really sets them off perfectly. It’s lovely to see the naturally ruffled edges of the high quality aquarelle paper that I use for these paintings. I also love it against the rough brick wall behind!
Two little stunners, proving you can still get all the colour, depth and interest in a small package. Even in a small space either of these would light up the room.
The exhibition is open Thursday through Sunday up to the 7th July, 11am – 5pm. There are also two artists Q&A sessions, see their website for details.
If you are interested in purchasing any of the work, please contact the gallery.
Studio + Gallery, Seaford. Thursdays – Sundays, 11-5.
Private opening party Saturday 8 June. Email for enquiries.
Artists Q&A, Saturday 22 June 3.30. Contact gallery.
Walk and talk, Saturday 6 July 3.30. Contact gallery.
Two artists whose work spans a generation from abstract expressionism to contemporary abstraction. David Armitage has been painting for over 40 years and his work is held in public and private collections around the world. His assistant Abigail Myers was educated in the era of conceptual and urban art. Both are contemporary abstract artists with shared, and diverse, inspirations; resulting in a collection of paintings which are divergent and yet share a commonality.
Studio+Gallery, 21 Church Street, Seaford, BN25 1HD
Clockwise from top left: Still Life with Ginger Plant, mixed media on canvas, 100 x 76cm; Green Handbag, mixed media on canvas, 76 x 50 cm; Interior with Bed, mixed media on canvas, 100 x 76 cm; Still Life with Window, mixed media on canvas, 100 x 76 cm.
This series of works is inspired by domestic interiors. The simplicity of a bag hanging on the back of a door, an unmade bed, a vase, a table. Colours and forms spring forth and through an abstracted lense can become something beyond themselves.
The tradition of painting still lifes is deeply entrenched in fine art, and indeed has been a recurring element in my own practice over the decades. The colours and forms of real life objects have been inspiring artists for millenia, and I find great satisfaction in finding ways to represent, and suggest those forms in the most expressive way; so that you don’t just see a vase, or a bowl of fruit, or a chair; but you feel it. The expressive marks and deep colours pull you in and come to life, and allow you to make your own impressions of what they are.
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.
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.
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….
[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…..]