Rob Adams a Painter's Blog painter's progress

November 7, 2012

Where are our Cathedrals?

Looking back over history there is a trend that can be quite easily traced. A society will get organised, the efficiencies of scale kick in and then it has more labour than it needs to survive. In Egypt the cyclical nature of the agriculture seasons driven by flooding produced the Pyramids and other wonders. It is only the most spectacular of many, from the Incas to the Christian world of medieval times. There was whenever the spare effort was available this impulse to beautify the world. This seems to be true even up to the 19th century with the Victorians building vast palaces to industry and even beautifying their sewage pumping stations!

This is that astonishing cathedral to sewage the Abbey Mills pumping station in east London.

Often religion was the driver, or actually the status of the patriarchs and tyrants into whose hands power had devolved. Nonetheless I suspect there was much general pride in the achievements. So what do we do with our spare human effort? It is certainly there in greater quantities than we ever seen in history before. By any previous measure there should be vast monuments being raised of incomparable richness and beauty. You might point out that we have staggering high rise cities, but these are raised with only a minor expenditure of effort compared to the past. There is also no real attempt to make them beautiful only tall, ingenious engineering wise and above all cheap. Any of the great cathedrals would be too expensive to build nowadays. Liverpool Anglican Cathedral, one of the last built, cost around £700,000 or about £53 million today. That however does not mean it would cost that amount to build today as the required labour and materials for such a project would I estimate be far higher.

So where does our spare effort go? Well, essentially as far as I can see we waste it. Governments fear people without an activity to keep them off the streets more than anything else. Unemployment breeds discontent and and can quickly cause a society to implode, as we might, I fear, soon see in Greece and Spain. This unemployment is small though when compared to the numbers of people we actually need to keep the show on the road. I’m not sure of the figures, indeed I suspect no one is, but I daresay we could support our population at an acceptable survival level with only the effort of 15% or less of the population’s effort. With full automation yet to have its greatest effect that proportion is probably due to plummet. The  Marxist dream of leisure for the masses has come true, but not quite how those early socialists expected.

The problem of all this leisure is what on earth are people to do with it? There are no vast communal projects to soak up the unneeded potential, indeed out greatest communal effort is in extending individual life which just adds to the time to be occupied by harmless activity or bovine inactivity. If the potential isn’t used up in some way then the pressure will build up and those person hours could and likely would be used to the detriment or destruction of society as a whole. The Devil truly does make work for idle hands. The answer we have arrived at by empirical accident is to divert that effort into mostly harmless pastimes. So hours are soaked up by entertainment, not just by those that consume the TV shows etc, but also the vast industry devoted to supplying the fodder and hardware to amuse those surplus  minds. We also make up endless activities that keep idle hands busy while producing nothing and using minimal resources, commonly known as sport. Depressingly my own preferred activity in life is also now defined as a hobby and listed amongst these unneeded absorbers of time. We churn out far more paintings than will ever be required to go on domestic walls or fill private and national collections.

Surely this human potential could be better used. At the moment it is merely vented as if from an over pressurised boiler with fragile seams. If all this useless activity was carried out without a cost to society or the fabric of our world it would be bad enough, but the price paid in resources and wear and tear on our planet is dreadful and unsupportable in the longer term. Where has mankind’s ambition gone? There is it seems no vaunting drive to conquer new territory or extend the reach of the species. It is not as if there isn’t plenty of space in our vast universe to do just that if we chose. If the Victorians had discovered spaceflight in the 1860’s you could bet that by now they would have been all over the solar system like a rash! Yet we huddle close to our small world with most of our effort in that regard used to put up satellites so that we may more easily distribute entertainment to keep the masses quiet and safely inactive.

There is a considerable and growing swelling of opinion against the way we organise things. However depressingly to my mind they are all aimed at retrenching. We are fashionably green, we espouse renewable energy, living in harmony with nature and so forth. All fine and admirable aims, but in order to achieve them or anything close, several billion people will have to die. If we are serious in that ambition then reduction of population should be the number one cause celebre, but that is rarely ever mentioned. Rather we cling to ideas such as “organic” or “carbon neutral” etc which are for the most part entirely bogus in their actual delivery. The whole idea of sustainability is fraught with illogical and unrealistic thinking. Rather as if a group of people were trapped in an airtight chamber with no hope of rescue . Instead of making the effort to escape, which is they know just about theoretically possible, they decide the best course is to breath less often. The result being that they die a little later than they would do if they had made the attempt to escape but failed.

The facts are simple, the earth is a closed system, we will exhaust its resources because our cultural momentum is too great for any meaningful course change, indeed we have probably already overstepped the mark. The planet’s vulnerability and instability will cause our extinction sooner or later. As individuals we have no difficulty in choosing later rather than sooner in relation to personal mortality. I don’t see any problem with a whole race of beings taking the same posture vis a vis extinction. Yes, human kind will expire eventually, but in the meantime many lives will be lived, joys and sorrows experienced and shared. To my mind it would be well worth it just for the wonder that would inevitably be experienced during the lives that would be lived.

Why do we not dream of garlanding our sun with beautiful rings teeming with life? Why do we not set about reaching out into that great ocean of stars? Yes it is huge and frightening, cold and inhospitable, and we would die in droves attempting it. But we don’t think that the many sailors that died exploring our globe as having wasted their lives, indeed we laud those in the past who died in hopelessly dangerous leaps into the unknown. Yes it would deplete and I dare say ravage our poor world yet further, but if life is as rare as it seems to be and possibly unique, then surely its longer term survival is worth fighting for. The attempt may fail, but surely that is more glorious and dignified than to merely fade away whist dissipating our energy and desire for survival on Playstations and reality TV. For the Greens and Environmentalists there is the thought that once the unsupportable drain of human demands is being supplied by off planet resources then Earth could once again be a garden, perhaps to give birth to other minds in some unknowable future.

When I express such thoughts and when I hear others occasionally do the same the response is mostly similar:

“We have enough problems here on Earth to be solved before we use precious resources to look beyond.”

Superficially this looks sensible. We have poverty, disease and dying innocents to deal with. Surely that is where our efforts should be focussed? If there was any hope of success in these ambitions in the current world’s social trends I might agree. Sort those out first and then we can turn our attention outwards. A little thought shows that the ambition to deal with these problems within our current closed world are nigh on impossible. We struggle to improve child mortality, then the populations out strip supply and starvation and misery often result. I was struck by a recent documentary about countries that had rich resources to be exploited. Sadly it didn’t result in the uplifting of the ordinary population, but only the increased exploitation and degradation of the many by the few. The most optimistic potential future has us all living in more or less equal poverty not lifting the masses out of it. There is only so much cake and the slices will by stages have to become thinner, even in the unlikely event of them being divided fairly. The most probable future is that we will fight over the dwindling resources until enough of us have been killed to ease the pressure. Or more likely still, a whole series of such events punctuated by periods of recovery.

Another opinion I hear uttered as if it is wisdom is the idea that we don’t need to explore off the planet’s surface as machines can do it better, cheaper and more safely. I just can’t see how anyone thinks this could be sensible. If we miraculously discovered a new continent on the Earth we wouldn’t say, “We will just learn about it by sending over drones as colonisation would be too risky!”

Why do scientists think that just finding out about our surroundings is sufficient? Men don’t look at Everest and think, ” Oh I know how high it is and I’ve sent a drone up and it has taken samples, so I don’t need to bother to climb it.” We don’t think like that at all, as the many fatalities show, because the important thing is that they wished to experience it first hand. Exploration isn’t an end in itself it is merely the means to extend potential human experiences. Exploring our universe in person is merely the beginning. Columbus didn’t come back and then nobody bothered to follow as it had already been “done”. Others followed to live their lives there, which I know was pretty bad luck for the indigenous peoples, but many many wonderful lives have been lived out there. That is why we need to take the leap.

Not for the resources.

Not for the knowledge gained.

Not for the glory.

We need to do it so that humanity can experience and know the wonder of this vast place in which we find ourselves. Lives lived, loves, hopes and disappointments felt are the richest harvest here.

The emptiest and most depressing award I think goes to the nihilists who say, “We have made a right mess here, all we will do is mess up the rest of the solar system!”

They equate humanity to a desease spreading relentlessly and wrecking everything it touches. This seems to me to be a stupidly self centred position to take. Would life as a whole be served letting it die out on this small pebble we call home? Will trees never have the chance to spread their branches wide under other suns? Will whales be denied the chance to swim in other seas? Will men be denied the chance to live and love on other worlds or in the vast reaches between them? We are the only hope we know of at present for this thin smear of organised matter we call life, it is I feel our duty to extend its reach.

How sad it would be if we are truly alone in this great place and we by inaction allow our small light to go out. That the majestic galaxies should wheel on their courses through the immensity without ever being seen by a knowing eye. For worlds to raise up their mountains that will never to be climbed. For the vast ocean of space to remain empty and barren of that small plankton we call life.

The above is also a good reason for me to paint, even though most of the paintings will never grace a wall and are destined for storage under my bed. Indeed when I am gone they are probably destined for a landfill. They are my small appreciation of the wonderful and often scary place I find myself. A thank you letter to whatever outrageous combination of events has allowed me to be here and appreciate the fact.

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Not many big paintings this post, I am still busy earning a few bucks so painting time has been restricted. I have however been trying yet again to find a practical way of sketching standing up in difficult and often busy places where a tripod is impossible. I have decided small might be better so I have been experimenting with 7in by 5in oils.

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London, Deptford, plein air, oils, painting

This is St Johns Vale very close to home. Just a quick study of the light but plenty of information for a larger painting. Often at this time of year this very ordinary scene becomes transfigured by the light. I just need the right figures or whatever to bring out the atmosphere and give a sense of the people and their routines. The train station is just to my left and streams of people arrive only moments before the trains they need to catch. I love the mood of often distracted urgency that comes from people who would prefer to be still in bed but have to rush for their train to work. Unfortunately that is not when the light is at its best, so I will have to use my imagination to set the early morning activity in the later afternoon sun.

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Deptford creek, oils, painting, plein air.

Another test expedition close to home. this is the lifting bridge over Deptford Creek at the oddly named Ha’ penny Hatch. I had no thought of painting here until the walked past me into the light. Which show how important figures are in a composition. The figure took longer than the rest as I had to make it up. But still all done in about 20min which is a great thing about these tiny studies.

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St Pauls, London, fleet st, cathedral, oil painting, plein air.

This is St Pauls from Fleet St. Not too busy so I could just stand, even so I was a bit in the way. It’s odd how few stationary people there are on the streets every one is busy going somewhere. Due to that people tend to bump into you as they pass!

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London, church, Strand, oil painting, plein air

St Mary le Strand, some lovely contrasts, here I got all the darks established as very simple thinly painted areas. The canvas texture of these panels is very good for this as the darks can be rubbed into the weave, but the high points show some transparency which enlivens the shadows.

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St Pauls, cannon st, London, oil painting, plein air

I have painted this scene dozens of time now and it never disappoints. This is St Pauls from Cannon St. I scrubbed the dark reddish brown over everything except the sky just as a silhouette. Then laid in the lights and the deepest darks over the top.

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pochade

For the plein air nerds this is my latest and simplest set up for painting standing. It’s really a test rig to get the design sorted. The curved board just rests against my stomach. This takes enough of the weight of the box to allow painting handheld standing up in relative comfort. At first I just used a ruler as a prop  but the the shaped board works better. I think the board will be replaced by a wire frame eventually. I am in the midst of building a wooden version which will be much lighter… and hopefully more elegant!

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Life drawing, nude

Some life drawings to finish off.

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Life drawing

I just brought brush pens to this session which was a mistake. They are great for delicate touches and first sketching outbut rubbish for larger areas!

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Life drawing, nude

Next session and watercolour brushes too this time… so much easier!

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Life drawing, nude, watercolour

I thought about making the hair black but the blue rather took my fancy.

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Life drawing, nude, watercolour

Another of the same pose, it is fun to do this, it is some how easier to break the subject down at the second attempt I try to do these very fast without worrying too much about accuracy.

September 21, 2012

London Plein Airs and Some Figure Studies

Here we are again, no one is more astonished than me that I have kept up this journal. When I started I gave it 6 months before I lapsed into long gaps between posts. Other than being able to hold forth to an audience that can’t answer back, one of the reasons I have kept it up is that I found it has considerably increased my output. IE I have been doing paintings in order to have enough to post. Anything that gets my nose out of a book and settled down before my easel is to be welcomed! To my astonishment 5000 people visit a month which is more people seeing my work than I ever would have imagined; even if 2/3 of them click away immediately due it not being their sort of  thing. So a thank you to all my visitors, you are helping me keep my nose to the grindstone!

The other thing that has improved and increased my output has been meeting other like minded painters. When working in the commercial arena I only very occasionally met other artists. When I did it was a different sort of relationship to that of going out to paint for a day with friends. Life drawing sessions as well have broadened my artistic and social horizons. Another thread is interactions with other artists on the Wet Canvas site. There is much encouragement to be gained by positive feedback as well as the occasional negative comment. Though we none of us exactly love critical comment I have found that comments, however inexpert, are very rarely wrong. Where I have not made much progress is getting my work in front of people in the flesh.

I am starting to get work into the open exhibitions in London but these only add up to a very few paintings exhibited in the year. Still with only just over 2 years of setting out on the course of painting for myself full time I am pretty pleased with the progress. Next must be a trawl for galleries that might want to have a few of my pictures for sale on the wall. Also sooner or later I must attempt an exhibition of my London paintings, one of the most enjoyable aspects the pictures I have painted so far are the local pictures from around where I live.

Something I have attempted to do with this part of my output is to catch a few of those moments of beauty in everyday life that would otherwise go unnoticed. This is actually harder to do away from home as you just don’t encounter such brief moments on occasional visits. It is only by being frequently in a place those infrequent charged moments are encountered.

Returning to the online world for a moment, it is indeed a strange new world we inhabit. I have a presence on quite a few places online, from Saatchi Online to the oddly named  deviantArt as well as posting much new work to Wet Canvas. Whether any of these platforms will become dominant in a Facebook kind of way I don’t know. Saatchi produces very few views, but have nonetheless sold one picture. deviantArt requires you to base your online social life around the site in order to gain popularity and hence views. Wetcanvas is the most rewarding as you can both get a response to your work from experienced artists and also encourage others in turn. I wish more professional artists would take part as I think it would lift the standard and supply inspiration to beginners. All of these forums for showing your work suffer from the same issues. There is no selectivity, anyone can post anything no matter what the quality or stage they are at in their journey. This is not a criticism, becoming too elite can put people off, as ConceptArt found to some degree, I heard, when they tried to separate out the wannabes from the pros.

However I do think there is a place in the online world for somewhere where it is very easy to put your work forward but very hard to get your work shown. One problem would be: who would do the winnowing of the chaff from the wheat and why would they put in the time in in the first place? I don’t think that would be insuperable though. Viewing and voting would be relatively easy online. Open voting systems are of no use as they are open to abuse, so in each area of achievement (landscape, abstract, figure etc) you would need separate jurors and each set in turn would need to have the general respect of their peers in that style, that in itself would attract potential selectors, as to be one would bring a certain amount of kudos and exposure. Maybe also the selections could be broken down to three monthly displays of limited number rather like the Summer Exhibition at the Academy. A rolling constantly updated gallery format has no structure and so tends to have no sense of occasion. Specific shows at specific times as you have in a physical gallery would I think attract a more focused interest from both artists and collectors. People who have an interest are more likely I think to check out a display that appears on a particular date, rather than to check back at regular intervals, or bother with constant emails that inform of updates. The main benefit might in my opinion be the ratcheting up of the quality of the work, there is nothing like giving people a goal to work for to make them raise their game. On the subject of putting work up for consideration I feel it would be vital to make a small charge for each submission, that in itself would I suspect help prevent there being an unmanageable  flood of offerings. It would also supply revenue to run the whole thing. Prizes and so forth would be another tried and tested method of attracting interest and support from commercial sponsors.

Saatchi online are trying to drum up interest with curated selections, but the curators are seemingly woefully ignorant and are drawn from the modern art clique exclusively. There was a recent curated selection with the title of “Impressionism” that contains much that it would be hard to shoehorn into that category. The lack of intelligent focus is underlined by the woeful lack of interest in views, sales and comments that these collections receive. At the time of writing the Impressionism collection which was posted on the 13th Sept 2012 has, seven days later, garnered not one single comment despite being on their front page.

It would be easiest, I would imagine, to launch such an exhibition site on the back of an existing player. Even then such things take time, patience and money to establish and may fail to attract enough interest despite all efforts.

That’s the guff over, some scans of tactically dirtied bits of paper are next.

 

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London, st pauls, watercolour, plein air

A visit up to town to explore a particular view with an eye to doing a few studio pictures. Upon my arrival though the light refused to co-operate. I needed

the sun to light up St Pauls when seen from Cannon St, but despite the mostly blue sky the sun determinedly hid behind almost the only cloud in the sky.

Whilst waiting I sat on a wall and did this which was fun, but hard on the neck. I was interested in the tone against the sky which was very dark for an

almost white building. The challenge was to get the feeling of a Portland stone building in the shadow rather than a building just made out of something

darker. Oh and the perspective was a bit of a devil too! 5in by 7in.

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St Pauls, London, watercolour, plein air, City

Eventually the light played ball and I got this quick sketch done. I didn’t have time to reserve all the lights, so I used some body colour which I hope annoys

the purists. I have given upon my monopod for now and this was done on my tripod set up, no problem as the pavements here are miles wide. 5in by 7in.

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St Pauls, London, city, watercolour, cannon st, plein air

For this one I retreated even further down Cannon St. I had brought with me a sheet of dark blue toned paper and a few tubes of gouache. The main tone

of the RH building is about the initial colour of the ground. I have to say this is a very fast and easy way of doing one of these contra jour city scenes.

With pure watercolour so much of the work is building up the strong tones required. The downside is a loss of luminosity derived from the white of the

paper. 11inby 7in.

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child okeford, Dorset, watercolour, mist, fog

A 1/4 sheet studio painting from material gleaned on my Dorset visit. A misty morning in Child Okeford. The gentleman in red was off for his morning

shop. He was a little surprised to be photographed! This looked so dull until the figure and car were put in that I nearly abandoned the whole thing a few

times. Once the key element were in it looked much better thank heaven. All done with my magnificent new size 14 Kolinsky Sable from the excellent

Rosemary & Co who make quite the best brushes I have ever used.

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Greenwich, London, church plein air, wapping group, watercolour

I was once again invited to paint with the esteemed Wapping Group. I went along despite being somewhat under the weather. I set off early with fellow

painter Graham Davies, this view was an obvious winner so it was our pre breakfast subject. It is from the graveyard of St Alfege in Greenwich. 7in by 5in.

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A view up a road leading to Blackheath from Greenwich. Absolutely super light. Getting up early is so very worthwhile. The central part with the vans

had to be done later due to a large lorry parked smack in front of us! A bigger painting will be developed from this in due course I hope.

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The Royal Observatory, greenwich, london, watercolour, plein air

This was done around lunchtime as I was fading fast. After finishing it I sloped off home to sniff and sneeze miserably while sitting  on the sofa watching

telly. It is of course  the Royal Observatory at Greenwich. 7in by 5in.

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life drawing, nude, figure

Life drawing has got going again. I have started to rather like these Brushpens from Pentel. They are capable of a great variety of marks and soften a little with

the watercolour wash. An odd thing with my drawing, I have entirely given up measuring. Mostly because it breaks the flow of drawing, so what you loose in accuracy

you gain in fluency. Painting is so often marked by this sort of trade off. It wasn’t a conscious decision it just sort of happened.

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life drawing, nude, figure

Another couple of 5 min ones.

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Life drawing, nude, figure

A longer 30 min pose. The model Alice is a dream to draw, she is a dancer and is seemingly incapable of taking up an ungraceful pose. She also bravely

holds poses that would put me into intensive care!

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life drawing, nude, figure

Life painting is an odd thing. I love them when they are a study, but tend not to like finished works. Somehow figure studies are timeless and could

almost come from any age, but as soon as they become a finished statement they become fixed like flies in the amber of the time of their milieu.

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Rather chuffed with this one. Last of the session and I was really flying.

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