Rob Adams a Painter's Blog painter's progress

August 15, 2016

Taking Stock

Filed under: Dorset,Drawing,Painting,Uncategorized — Tags: , , , , , , , , , — Rob Adams @ 11:06 am

I have a lot of pictures in my attic. I counted them and it gave me pause for thought, 1200, that is a lot of paintings. Though I dare say a fair few other painters could out do my total. Many of course would be best left to moulder or be painted over, but it still means there are many more perfectly adequate “Rob Adamses” in the world than anyone will ever want. Early on in this blog I wrote a section on why I paint which is here, in it on re-reading I essentially wrote about why I paint what I do in the manner I do, rather than why I bother in the first place.

The “why I bother” is actually simple and mundane, I enjoy doing it and the challenges it throws up. In my previous existence as an artist for hire I did whatever I was asked as well as I had it in me to do at any one time. As in painting pictures now I enjoyed the challenges and having to stretch what I was capable of in new directions. When it stopped being a challenge I rather lost interest and as my career had been relatively successful I was in the position of being able to stop and change direction with little risk. It was also one of those things that we nebulously script into our futures: I will give up work and just paint for me… or garden, or whatever. It is a sort of rosy will o’ the wisp destination that is reassuring when the present becomes a little tedious, like looking forward to a cold beer at the end of the day.

As with all ambitions the reality is a little different, not disappointing just different. Doing the work is satisfying, I am eager to start the next days painting and am often painting by 7.30 in the morning. Some things have been unexpectedly rewarding, such as the many fascinating people I have met through a shared interest. Also the trying to master the many difficulties of distilling and then painting the observable world for a frame rather than a page. This blog has been an unexpected pleasure, I never thought to write so much, I initially intended it just to be paintings with brief descriptions about technical matters. Instead I have found myself on an erratic voyage over theoretical, philosophical and motivational waters.

So, the taking stock bit. It is six years since I set out on my new course. In that time I have reshaped my life almost completely, moved a hundred miles west into the country and become a painter of pictures of the world around me. I no longer sit long hours at the computer or paint pictures of theme park developments. I am mostly free to shape each new day as it comes. I no longer have a city street outside my door, but a garden and trees.

I am not one to dwell on dissatisfactions, despite an inherent restlessness I am blessed with a mostly sunny disposition only briefly disrupted by the occasional melodramatic storm. I am a little concerned that I spend my days doing an activity which produces a product that few want or need. There is a part of me that irritatingly points out that I would better serve the community by doing something that improves the lot of my fellow man a little more directly. Still giving others the occasional dose of visual stimulation is not entirely worthless, just not as important as many in the art world would like to believe.

So stock taking is more difficult than I thought, it is hard to assign either positive or negative values. I cannot produce a neat chart with pros on one side and cons on the other. The part of taking stock that entails possibly adjusting your course, is problematic too. I can only form very prosaic ambitions, such as doing more printmaking and improving my oil painting. It is one of the results of ageing that your perspective changes, success is not a lure, the vague desire to become “known” dissipates. Although the quality of not understanding the world becomes more nuanced with age, the actual degree of understanding steadily decreases as old poorly founded certainties get progressively eroded.

So that is the end of the audit, my plan is to add more shelves to my attic and carry on painting regardless!

Not many pictures done and I seem to be more prone to re-working than I have been previously, which means pictures evolve. This makes it a little tricky for the blog as I don’t quite know when a picture is finished. I will I think post updates as I go along as this might be of interest to other painters, you will also be able to annoy me by telling me the first version was better!

Hambledon Hill, oil painting, dorset, landscape

I had this one sitting on a ledge in the living room for a week or so. It started life as an unfinished plein air done at dawn, but this reworking though it retained the basic tonal structure had a quite different feel. Eventually I felt it was more of a nocturne than a dawn and had the idea of adding a moon.

 

Hambledon hill, landscape, oil painting, nocturne

Here it is, it makes I feel a better nocturne than a dawn! It is amazing how so little paint can alter the whole emotion of a picture. The other change that was reassuring was that before when the picture was in my living room nobody noticed it, but when put back with its silvery addition it drew eyes and comment. 10in by 19in oils.

 

Cattle, bullocks, Fontmell Down, oil painting

I wanted to do a different take on Fontmell Down. On a painting visit we were chased away by this very rambunctious herd of bullocks. There was no chance of carrying on with the plein air painting so as they approached in fits and starts I took tons of photos. I am for now pleased with the result it has a quieter mood than I intended but I think that is probably a good thing. 10in by 19in oils.

 

Dorchester, oil painting

This was a sketch to work out a tone structure for a bigger picture, now I’m not so sure and this might be the finished one. It is based on a pen drawing augmented by some very over exposed iPhone snaps. It is the road in to Dorchester. 10in by 10in oils. I’ll put the pen drawing below.

 

Dorchester, pen drawing, dorset

I think I will still do a bigger painting but I might need to make another expedition. Fortunately the phone snap has time and date info so I should be able to return at the optimum moment!

 

Springhead, dorset, oil painting

This is Springhead an old mill up the hill from Fontmell in Dorset. I loved the mood when we were there after a rained off evening picnic. The photos were, as is so often the case, not at all like how I remembered it so this an attempt to recapture the memory. It looks like another one that might benefit from a moon being added, though I am holding off for now! It is one of those pictures that makes a big leap on being put into a frame, I find it hard to find a reason why that should be so but it does show that testing a picture in a frame as you work on it is a good policy. One especial benefit is it makes it easier to judge when a picture is finished. 10in by 14in oils.

 

White Nothe cottages, dorset, oil painting

These are the old coast guard cottages at White Nothe near Lulworth. Nothing particularly wrong just didn’t have the focus I was looking for, almost scrubbed it off but have attacked it again since.

 

White Nothe, oil painting

Here it is after surgery, I wanted to focus it in more. Still not quite the painting I had in mind when starting but will leave it a while before any more messing. It started off as a 12in by 20in but got lopped down to 12in by 16in. Oils

July 28, 2016

Mad with the Power

Filed under: Art History,Philosophy,Satire — Tags: , , — Rob Adams @ 11:05 am

I am officially qualified to make art. Yes I mean it, I have a bit of paper, which only I and the person who shoved it in an envelope has ever seen, that says Robert Adams, Ba Hons Sculp (3rd class). Which is as near, I might add, as it is possible to get on a Fine Art course to failing, but none the less it confirms I have the power. I can look, or even if I am bold intervene on an object, and with a wave make it art. Move it from the category of the mundane to an elevated existence. Ok, Ok waving is probably a bit too Harry Potter with an Art Wand… maybe just pin an A4 sheet of impenetrable art-speak next to it… Now people will look at this thing differently, they will stroke their chins and ponder, they will feel the need to say that I explore the boundaries of the mundane and the elevated, with a bit of luck they might even pay me so they can stroke their chins at home and impress their friends with their avant-garde taste in art.

Great power, as Spiderman’s Uncle Ben once said, comes with great responsibility. I could theoretically pin a bit of paper on the Child Okeford village noticeboard declaring the whole village art, or even the whole of Dorset, drunk with power I could claim the entire universe as my creation and artify the whole shebang! Tricky to exhibit I suppose, just an A4 in an empty gallery declaring my act of will would do it though. Ah yes I can see it, a pure white cube of empty space with a single sheet of paper on one of the pristine walls. The Turner prize would be a shoe in, Kirsty Wark would interview me in that humble mortal talking to a high priest manner she has, hanging on my every statement concerning my realms of concern and posing deferential enquires as to how I became such a genius.

But maybe best not, how will everyone feel to be just the raw materials for my art? What if someone objects to being merely the paint on my conceptual brush? I could of course put my bit of paper in a locked box and declare that within it lay the greatest creative statement ever. Hmm that might be enough for the prize in itself! Me not saying what it is would become part of the work and no one would need to know that I had artified them and the entire multiverse without  asking first.

Other artists might be a problem too, their art would just become a footnote to my far larger conceptual reach. Artists are an egotistical lot they are bound to object. By signing and dating the entire universe I have made their work mine which could cause me to be accused of plagiarism… The other worry is that they have the power too. I would worry that they might de-artify my masterpiece. Very tricky, can an artist take back the fairy dust of artification? Is artifying a one way street? I don’t see why it should be, if I scrape off a painting it is very much de-arted, so what is possible in the practical world should be possible in the conceptual, easier too…

Lets try it there is nothing like experimental evidence. Here is my breakfast in a mundane state.

breakfast

 

now below here it is “Artified”

 

breakfast

Pretty impressive, the difference is striking it now says so much more, it comments on society and how we always seem to fall short of our dietary ambitions. How the  paradigm of the dialectical forces inherent in the working classes express themselves in a glorious hymn to cholesterol. Now the acid test the de-artified version:

 

breakfast

Well that pretty much proves it, the breakfast is just breakfast again with no subtext.

This is going to cause a storm in the art world I fear. What if Anthony Gormley de-artifies one of my paintings? Do I retaliate in kind and de-art the Angel of the North? I can envisage two artists duelling each arting and de-arting objects by pinning A4 conceptual declarations in turn. Some miscreant could pin an A4 sheet saying “This is not an Oak Tree” next to Michael Craig Martin’s seminal work. What if someone de-arts the Sistine Chapel? Would the people stop going? The Pope would have to get Damien Hurst in to re-art it or the Vatican would be very much out of pocket.

I am now worrying as to whether I should post this. By clicking “post” I am changing the whole fabric of Western Art entirely. No one will ever look at art the same way again. Perhaps best not, the disruption would set artist against artist, a civil war in the art world. Tracy Emin might get blackmailed by a rogue artist threatening to de-art her bed. The foundations of the art world would be shaken and undermined. More to the point auction prices could plummet, no collector would ever feel secure knowing that their collection of shiny Jeff Koons doggies might be mundanified at any moment by a dissident artist… Then again there is always the chance that I might get that Kirsty Wark interview and be on the telly…

 

 

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