Tag Archives: art

The Art of FORGIVING but not FORGETTING by artist Ann Supan (FreeSpace #3)

21 May

MANILA CATHEDRAL 1600px

MANILA CATHEDRAL by Ann Supan 

 

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The Art of Forgiving but not Forgetting

Art, for me, is the artist’s converted thoughts and emotions of a subject into something tangible such as a sketch, drawing, or a painting.

I won’t dare argue how others defines Art because Art is quite subjective. I do, however, believe that ‘WHY someone makes Art’ reflects a lot about what Art really means to them…

(in no particular order)

– adventure, fun and enjoyment

– to connect

– to edify or educate

– reuniting and recording of one’s thoughts, feelings, and memories

– to communicate

– money

– to be famous

Probably an artist should make a percentage chart of ‘Why I make Art’ instead of the usual direct statement as answer to this seemingly simple question. I myself can agree with a number of above mentioned reasons because they are sort of interrelated with one another.

It would be such a mendacity if I say that I don’t make Art for money at all…How else will I be able to buy the materials I need to create without money?

However I draw the line between trying to be “recognized” as an artist and to be “famous”. I have every reason to believe that someone can be an artist yet not be famous especially now that the term “fame” has been somehow “evolutionatized” by how the majority uses social media. I don’t intend “educate” with my art either as I am learning myself.

Nevertheless, based on my own definition of art, there is one which I agree most –

– reuniting and recording of one’s thoughts, feelings, and memories

My memory triggers my thoughts and somehow exaggerates my feelings with this imperative desire to create.

I observed that I’m having a hard time to draw when I’m happy. I’m actually able to make what I consider memorable pieces when I feel deep melancholy- a feeling that, though part of life, I wish I could just ‘pray my way out of ‘ but can’t. So instead, I just ‘create my way out of it’.

For this reason, I realized that I draw to be able to forgive too because I’m usually sad when someone hurts me. I momentarily forget about the pain when I’m able to concentrate all my thoughts and emotions in the process of creating art-

– When I draw I tend to think of something else…go to another world…whether fiction or not, I don’t care…as long as it’s not here- my real life. I create lines/shadows over and over again until I get tired and accept the fact that it’s over. Usually, this is the same time when sadness drastically turns into anger until I realize that I can’t keep hating someone forever so the feeling of self pity strikes in. As I continue on forming figures these feelings subsides and then gradually turns back into sadness.

I choose to forgive this way but that does not mean I could just choose to forget what was done to me…that is just not possible.

“Your memory is a monster; you forget – it doesn’t. It simply files things away; it keep things for you, or hides things from you. Your memory summons things to your recall with a will of its own. You imagine you have a memory, but your memory has you.” – (In One Person by John Irving)

No matter what, as long as I have a pencil and paper in my hands I can choose to draw rather than focus on this feeling of immeasurable pain brought by my ‘uncontrollable’ memory. Should one day the finished piece would remind me of what I felt when I was making it, that is “OK” because it serves also a proof that I was able to overcome that miserable part of my life and “laugh” about it now.

As artists, we presume that all the artworks we make are our favorites but, whether we admit it or not, there are those which really stands out for us. Pieces we could spend a day looking at…pieces which brings a lot of memories…pieces which we understand far beyond the audience does…pieces which we find very hard to “let go” – mine are those that I usually made from sad memories which would somehow be translated as portraits and, most recently, as landscapes as well.

The Places series is a collection of architectural landscapes pieces, in different styles, which ‘I’ve been to’ and ‘dream of going to someday’. What the audience doesn’t know, until now, is that those pieces “I’ve been to’ included on this series are of places that ‘I would rather forget’ due to personal reasons.

Since every piece is unique, to read about the description of each piece, kindly click on the corresponding Facebook link below (“Places” album) so as to avoid making this blog any “longer” 😉

https://www.facebook.com/media/set/?set=a.739950812786497.1073741833.125692274212357&type=1

But why do we end up creating something tangible out of those feelings we would rather forget? – because ‘we have to’…WE MUST.

That is what creators do.

Otherwise, we could always end up doing something else instead of creating like those who just ‘drink and/or wallow their way out of things’.

*** The image (Manila Cathedral) I used on this blog is the 2’nd piece of my PLACES series ****

*** Why ‘I’ Make Art ***
50% – reuniting and recording of one’s thoughts, feelings, and memories
20% – to connect
15% – to communicate
10% – adventure, fun and enjoyment
5% – money

 

Biography

What if?’ will always be the question Ann Supan tends to ask herself every now and then. She is an Engineering graduate who knows she wanted to be an artist since she was 10 years old. She is a Filipina visual artist who loves to draw and likes reading as much as travelling. Her main interest in art is portraiture as it is her ambition to express beauty and emotion on her work. She focuses mainly on likeness as her technique and style is simple. Recently, she has been making ‘dual portrayal’ portraits in order to make her work ‘thought provoking’ as well.

She specializes in traditional drawing in the categories of figure drawing, illustration and shading using graphite and charcoal as her main medium. She also likes to use different mediums as shown on her selective impressionistic pieces.

Through years of practice and experimentations her artworks now revolves around on both realistic and impressionistic form.

https://twitter.com/Sketchbook0918

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*FreeSpace offers 3 post slots on ArtiPeeps to any creative or group. They can be taken in a cluster or over a period of months for showcasing, projects (encouraged) or self expression. If you’re interested in FreeSpace do get in touch via the reply box on this post or the contact form on the What’s On page. 

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9 Realms Viking Showcase: featuring Jasmine Renold (artist)

14 May

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19 Poets, 23 artists, 3 musicians and a Viking boat

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Featuring

Jasmine Renold

(One of 2 Realm artist s for Jotunheim)

Question: what piece of your art best represents you at the moment?

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.                                    ‘Come into my parlour’

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Most of my work is made from objects I find and wire. I love wire for its malleability and resistance. Sometimes it has a mind of its own and wants to go in a different direction. I like double meanings and so many of the titles to my sculptures are a play on words, sort of 3D conundrums. The themes of flight, freedom, constraint and being stuck or trapped are evident throughout my work. Sometimes with the sense of how we restrain ourselves from being free and being able to be true to ourself.

Biography:

I live in Manchester, UK and I have been a teacher for more than twenty years and have always been passionate about communication in its many forms. To teach well one has to be an amazing communicator. I studied Physics and Music for my degree and so my creative and logical sides often do battle with each other. My art work often displays a certain inner battle , particularly the mixed media sculptures.  It also reflects my purpose in life: exploring effective and beautiful communication. Jasminerenold.wordpress.com @jrenold on Twitter.

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Please do take a look at our Indiegogo Campaign.

http://igg.me/at/the9realms

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#9Realms Kennings Poetry and Norse Picture Title Competition Results 2015

7 May

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19 poets, 25 artists, 3 musicians and a Viking boat 

Supported by Arts Council England and Supported by Norfolk County Council

 

Competition Results for the #9realm Kennings and Art Competitions

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Firstly,  I’d like to say a big thank you to everyone who delved into the realms of kennings, art and Norse Myth for our first two competitions that ran alongside the second week of our Indiegogo campaign for our boat.  Jamie, Kate and I really appreciated your enthusiastic and creative responses. Thank you for making the second week of our Indiegogo campaign so dynamic and creative! A big thank you to Jamie and Kate for being competition coordinators too. 

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Without further ado, as they say,  here are the results of James Mackenzie’s Art Title Competition:

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Picture Title

viking_longship_painting

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Winner: 

Sonja Seear  ‘Den Stille før Stormen’ @Sonja_Seear

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Congratulations Sonja!

You will receive our multimedia event DVD jammed packed with the poetry, art and music from The Nine Realms. The DVD is in the process of being made. We’re about to edit the first half of the realm poetry mp3s together.  I’ll be in contact with you with the details.

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Other Favourites

Simon Burrows ‏’Sailing On The Tide’ @SimonJBurrows85 

Lou ‏ ‘Allience’ @CatchNCause

Amira ‏ ‘Dancing on Waves’ @ElissarMalak

Jim C Mackintosh [ ken the billow maidens fury ] ‏@JimCMackintosh

Abigail Hamilton ‏ ‘Njörðr’ @amelievondollar

R J Spencer ‏’Sea Swallows’ @vagantes_poeta 

Edda ‏ ‘Battle with the invincible God’ @sokaelgato

Bernie Dowling ‏’Under the Mast’ @bentbananabooks 

Yvonne Marjot  ‘Riding South on the Salt-road’ @Alayanabeth

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Congratulations Everyone!

By way of a thank you, I would like to offer all of the creatives listed above and indeed the winner (and any  other creative who entered),  a showcasing opportunity on ArtiPeeps (Weekend Showcase) which also comes along with a FreeSpace (3 slots in a cluster). It would be lovely to have your work on ArtiPeeps. If you would like a showcase do get in touch via @ArtiPeeps If you haven’t heard about what we do, here’s a link to our brochure with full details:

https://goo.gl/jqtAmu

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Kennings Micro Poem Competition

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Winner:  

Yvonne Marjot @Alayanabeth

South on the salt-road, the sea striders
ferry warfare to the wave fields
drift down brine slopes to deal the blade kiss

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Congratulations Yvonne!  

You will receive our multimedia event DVD jammed packed with the poetry, art and music from The Nine Realms. The DVD is in the process of being made. We’re about to edit the realm poetry mp3s together.  I’ll be in contact with you with the details.

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Other Favourites

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Shirley Golden ‏@shirl1001 

They grow restless as
the air-thief rolls to ripples,
Other realms glitter,
far across the salt-store.

Kenneth@k_e_nn_e_t_h

These saw~toothed slayers,
Pierce blunt~dagger fields,
Fruit of godless black-stews,
Risen from Earths bowels.

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Orjan Westin @Cunobaros  

The keel-road calls / the oarmen go
The wives have waved them off.
To fish-field plough / the silv’ry hoard
Bring home.

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Lynsey Hansford @redhairdoula  

I can seldom believe
that this cold-carpet
impeding my ascent
to the cloud-dweller’s tip
once danced freely in the sky

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Kay Buckley@KayLBuckley 

My steps explore the stone-dale,

forgetting my love in the whale’s veil

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Boiarski @Boiarski 

Climb the sky wall, claw over the crags
of the snow catcher, down to the stone
water and the solid spray of winter sea.

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Simon Beavis @ashortstay 

On the green-curve
we stood still – just for a minute
with gorse trees burning more gold
under the big blue kestrel-hold

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Julie Corbett@juliecorbett21

wind-gobbler,water-hammerers /making for safe harbour / ears waiting for word-stringers / seaborne makers of myth

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Alexandra Clare ‏@_AlexandraClare 

Hard~handled skull~splitter, held
To the spinning steel, sparks flying
So ravens can redden beaks…

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Congratulations Everyone! 

By way of a thank you, I would like to offer all of the creatives listed above and indeed the winner and others who entered, a showcasing opportunity on ArtiPeeps (Weekend Showcase) which also comes along with a FreeSpace (3 slots in a cluster). It would be lovely to have your work on ArtiPeeps. If you’d like to take up this opportunity you can contact me via @ArtiPeeps. If you haven’t heard about what we do, here’s a link to our brochure with full details:

https://goo.gl/jqtAmu

Equally/and,  if you’d like to get in contact with Kate about her webzine opportunities  ‘Three Drops from a Cauldron’ do contact her her here:  .

 

Thank you so much for your interest and do watch out for the results of the next two competitions.

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 Vikings Ahoy!

Please do checkout our Indiegogo Campaign Page: 

http://igg.me/at/the9realms

 

9 Realms Viking Showcase: featuring Heather Burns (artist)

29 Apr

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19 Poets, 23 artists, 3 musicians and a Viking boat

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Featuring

Heather Burns

(Realm artist for Vanaheim)

Question: what piece of your art best represents you at the moment?

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woven landscape close-up

Woven Landscape (close -up)

 acrylic and graphite with mixed media on canvas, A1 size 20/2/2015

      This piece was made in response to the challenge of interpreting the realm of Vanaheim visually for the Norse Myth collaboration for ArtiPeeps. I arrived at this response having explored the male and female nude in landscape settings after researching written material on the realm. I found it strangely illusive though, and difficult to visualise. It constantly slid away from any concrete image. The only thing that did stay with me was Freyja’s necklace, or Brisingamen, which was stolen from her by Loki, and which is central to her story. The explorations of this precious thing that stimulated the Goddess’s greed and actions that had huge consequences for her community fascinated me. Having also gone on a field trip to explore the Viking and Christian Gosforth Cross in Cumbria, with its mix of iconography from those cultures, I felt the need to blend these aspects. Great Gable mountain in Wasdale known as Odin’s Mountain, is also in there as well as a motif relating to Norse cable designs for knitting. 

Next, the interlocking Yggdrasil tree of life carving from the base of the Gosforth Cross suggested notions of family and community so central to the Vanaheimers as I imagine them. These aspects all come into focus and disappear much as my explorations have done. I accept the illusive nature of the realm in my response; it is part of it all. However, I am fascinated by concrete aspects available to me especially evidence of a Viking presence in Cumbria. Finally, the necklace itself which I painted at Christmas, was a gift from my sister-in-law Mara who is half Orcadian. The Orkneys also being a special place of colonisation for the Norse explorers. The piece reflects this weave of influence, narrative and history as well as being a treasure itself both physical and metaphoric.

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 Biography:

Heather Burns is a practising artist and art teacher with an interest in landscape and  a sense of place combined with gestural marks and colour. She studied Fine Art at Leeds University, became a mother, took a teaching post in teaching English as a foreign language in Cambridgeshire whilst continuing to paint throughout. Now settled in Clitheroe Lancashire she is experimenting with oils again after a period exploring acrylics, and has recently had an exhibition at her brother’s gallery in the Lake-district. You can find more out about her via www.heatherburns.co.uk@Heatherburns201 

Freyja

Loki

Brisingamen

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*Vanaheim is the realm of the Vanir Gods. You can read the realm overview here

* You can find more information about The Nine Realms here

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Please do take a look at our Indiegogo Crowdfunding Campaign for our Viking Boat.

We have some great Viking Rewards:

http://igg.me/at/the9realms

nine realms8

“Art between HAPPINESS and MEANING” by artist Ann Supan (FreeSpace #2)

23 Apr

CONFUSED

CONFUSED by Ann Supan 

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“Art between HAPPINESS and MEANING”

” Unhappy men are all alike. Some wound they suffered long ago, some wished denied, some blow to pride, some kindling spark of love put away by scorn – or worse indifference – cleaves to them, or they to it, and so they live each day within a shroud of yesterdays. The happy man does not look back. He doesn’t look ahead. He lives in the present.

But there’s the rub. The present can never deliver one thing: meaning. The ways of happiness and meaning are not the same. To find happiness, a man need only live in the moment; he need only live for the moment. But if he wants meaning – the meaning of his dreams, his secrets, his life – a man must reinhabit his past, however dark, and live for the future however uncertain. Thus nature dangles happiness and meaning before us all, insisting only that we choose between them. ”  (The Interpretation of Murder by Jed Rubenfeld)

I interpret the word “insisting” on above quotation as an implication that even though nature may “insist” for us to choose between HAPPINESS and MEANING, it does not mean that it’s “impossible” for us to have both.

I think that I cannot “always” have both HAPPINESS and MEANING at the same time but as long as I can find MEANING in my life, I know I’ll find HAPPINESS there too “at certain times” no matter how brief or long it lasts.

I know I am happy whenever I make a piece of art simply because I enjoy doing it…but what does that mean? It means…

– not having enough time for other things which may affect my relationship with others because they don’t understand my passion (this includes taking time to make something that is not actually paid for…some people with full time regular paying jobs just don’t understand that).

– giving people more reasons to criticize me.

– putting my ideas at risk because I cannot be an artist by just locking myself in a room drawing all day. Sharing art in the real word is, indeed, “a double edge sword.”

– doubting myself and my artistic abilities because, the truth is, I am not the “best artist” in the world (if there is such a person as “art is subjective”). I am not ashamed to admit that as I know for a fact that there are a lot of great artists out there (living or dead).

– always having the fear of “failing” at what I’ve always thought I am born to do in this world – to be an artist

Despite all this, if I must choose, I’ll choose MEANING as I’m certain that I cannot totally “just” be happy. I believe, just like any other feelings ( e.g. sadness, grief, etc.), HAPPINESS too shall pass…it always does. MEANING, on the other hand, is definite as it gives us purpose…the reason to live “no matter what”. I would rather know that there is a meaning for ALL  the things I’ve been through in life than to be a happy person by ignoring my past that I cannot “just” forget.

However, though I choose MEANING, I don’t live in the present “entirely” for the benefit of my future because for all I know I may die today. I honestly do not desire a longer life. I just want to “live” the life I’m given by learning from my past and doing the best I can with what I have until the day I stop breathing (period).

The SHADOWS series is a collection of portraits intending to show emotions  OTHER than those typical portrayal of  complete happiness and joy as I hope to convey those I believe are “meaningful” part of someone’s life.

As every piece is unique, to read about the description of each piece, kindly click on the corresponding Facebook link below ( “Playing with SHADOWS” album) so as to avoid making this blog any “longer” 😉

https://www.facebook.com/media/set/?set=a.603474029767510.1073741830.125692274212357&type=3

***The image (CONFUSED) I used on this blog is the 17’th piece of my SHADOWS series ****

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Ann will be returning for her third FreeSpace on Thursday 21st May. She is one of the artists to be exhibited in our The Nine Realms  combined arts experience this  September in King’s Lynn, Norfolk.

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Biography

What if?’ will always be the question Ann Supan tends to ask herself every now and then. She is an Engineering graduate who knows she wanted to be an artist since she was 10 years old. She is a Filipina visual artist who loves to draw and likes reading as much as travelling. Her main interest in art is portraiture as it is her ambition to express beauty and emotion on her work. She focuses mainly on likeness as her technique and style is simple. Recently, she has been making ‘dual portrayal’ portraits in order to make her work ‘thought provoking’ as well.

She specializes in traditional drawing in the categories of figure drawing, illustration and shading using graphite and charcoal as her main medium. She also likes to use different mediums as shown on her selective impressionistic pieces.

Through years of practice and experimentations her artworks now revolves around on both realistic and impressionistic form.

https://twitter.com/Sketchbook0918

.

*FreeSpace offers 3 post slots on ArtiPeeps to any creative or group. They can be taken in a cluster or over a period of months for showcasing, projects (encouraged) or self expression. If you’re interested in FreeSpace do get in touch via the reply box on this post or the contact form on the What’s On page. 

.

Please do check out our Indiegogo Crowdfunding Campaign: 

http://igg.me/at/the9realms

Weekend Showcase: Stuart Slater (Artist)

20 Mar

Spotlight

Every Friday, 1 creative, letting their work speak for itself.

 

Stuart Slater

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Get Carter

Get Carter 

From the RYBG Series

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Artist’s Statement

Rediscovering Art

Art was always my strongest subject when I was at school. However, after graduating from Aberystwyth University with a degree in Fine Art I sadly lost interest in the subject. All passion for creating art had simply faded.

​In February 2014, some 16 years later, I was persuaded to once again have a go at some simple sketch work. One sketch turned into many and soon the sketches became paintings. I had found my passion once more. Since then I have produced over 70 pieces of work; the most prolific I have ever been.

I have a great love for colour in art and I am currently based Solihull. I produce abstracts and portraiture.

 

stuartslaterart.co.uk

https://twitter.com/Stuart_Slater

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If you would like a Weekend Showcase please do get in touch via the contact form on the What’s On Page , or via the comment box.
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Drawing on the Past by Ray Bentley (FreeSpace #3)

3 Dec

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Ray - 1 of 3

Drawing on the Past

Ray’s talked about his recollections of Mark and Billy over the last three weeks, and now he wants to tell you about his own experiences from the same time.

When Ray moved to London in 1956 he could hardly believe his luck. He was 17, he’d secured a place at St Martin’s School of Art to study sculpture when the college was on the rise, and he felt liked he’d arrived from the provinces just in time to see things finally wake up after the war.

Even though he and his best mate had only applied for a laugh, Ray took to London life immediately, and flourished both socially and creatively. He made a lot of friends within and without the school, and he quickly found himself singled out because of his instinctive ability. Just a year after arriving his work was exhibited alongside one of the pre-eminent sculptors of the time, and he was feted by his lithography tutor for his exceptional talent. Word soon spread, and some very important teacher-artists used to come to the studio to see his work.

Elsewhere, he was enthralled by the American painters who were being exhibited in Europe for the first time, and he embraced the ground-breaking shifts that were taking under his sculpture tutor.

Moreover, at a time when British artists such as Francis Bacon, John Craxton and Keith Vaughan were exploring their emotions and desires in frank and challenging ways, and when many of his fellow students were becoming increasingly flamboyant, Ray believed he was at a place where he could live openly and honestly.

He couldn’t have been more mistaken. At the end of his third year an increasingly overconfident Ray told one sculpture teacher he was gay, an admission he naively considered innocuous given the apparent liberalism elsewhere in the school. Instead of keeping his counsel, however, the teacher immediately passed this confidence to his head of department, who in turn shared it with the principal. As Ray’s guardian he was justifiably fearful of the legal ramifications of this confession, but his handling, though initially well-intentioned, was to have a lasting effect on Ray.

Ray immediately questioned their response, but was told that “because it came from your own lips, we have to take action”. The principal sent Ray to see the most eminent psychiatrist in London in the hope that he would take – or at least feign – a cure, instructing him that when asked, he was to say that he initiated the consultation himself.

Ray - 2 of 3

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He did nothing of the kind, and he made it quite clear to both the doctor and the dozen-or-so medical students sitting in on the appointment that this pantomime was not his decision, that he was perfectly happy as he was, and that he wouldn’t be returning. While this decision may appear either brave or foolhardy, Ray was also driven by fear. In the absence of any sympathetic guidance and amid a mess of half-truths and rumours, he assumed that he would be admitted for electric shock treatment, aversion therapy or chemical castration. Worst of all, he was scared that he’d be forced to leave his partner, who you read about last week; this, more than anything else, was out of the question.

When he returned to the school “all hell broke loose”. He was greeted with a tirade from a frustrated principal who made it clear that Ray had no future there, and his stand led to the collapse of his relationship with the more pragmatic sculpture department. The invective he received from one staff member in particular was so persistently debilitating that his some of his fellow students complained about his behaviour.

Furthermore, Ray’s house-mate was summoned to the principal and grilled on every aspect of his domestic life in an attempt to uncover any indiscretion which would have been grist to his mill, given that Ray – though outspoken and intransigent – had been seen to have done nothing up until then that was either illegal or in contravention of college rules. The already-vulnerable Alan then attempted to take his own life. He left college shortly afterwards, and never painted again.

Despite – or even because – of this uncertainty, however, Ray’s printmaking continued to mature at a considerable rate, and his increasingly sympathetic but clearly hamstrung lithography tutor made it known that he had developed talents well beyond his years.

This was all academic, however, because Ray was failed, as he knew he would be. Many of his peers were nonplussed by this decision and they recommended that he appeal or resit, but he knew that either was untenable while the status quo remained. He did approach a solicitor, however, but after sharing his story and his tears he was curtly presented with a bill for five pounds and told that he should “accept his punishment”.

After completing a series of corporate commissions he’d secured in his final year Ray retired as a professional artist and tried to forget everything. He never told anyone else what happened, including his partner, with whom he remained until his death 29 years later. His surviving family will only find out when they read this. He avoided living one lie, perhaps, only to live out another.

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Ray - 3 of 3

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The good news, for Ray at least, is that this isn’t the end of the story, because he returned to art full-time over fifty years later at the age of 72. He’s very quickly had an unexpected, though modest success as a painter, and his work has been exhibited throughout the UK. He’s been away for too long to even know what the vanguard looks like any more, but his unashamedly conservative yet intuitive works have won a small, but enthusiastic set of admirers.

Does he regret all of this? For himself, no; if anything, he thinks it was the making of him professionally, because at the time he believed that nothing worse could happen. He’s sure that in the decade that followed this lent him a toughness that enriched the next stage of his life, even if he took a different turn to the colleagues who went on to make St Martin’s the centre of the art world for a while. He didn’t even think then about what he might have been missing.

It’s fair to say, therefore, that Ray isn’t speaking out now because he feels aggrieved, or because he wishes to point the fingers at the usually-capable professionals who were themselves the victims of history. He can even see why some people would think he didn’t do a great deal to help himself. He’s speaking out because he was one of the lucky ones, and because he wants to put it behind him. He found a way to survive and exploit his creative energies elsewhere, but some people lost more than just their careers and their dreams as a result of the peculiarities of the age; they lost their lives as well, and this article is for them.

POSTSCRIPT:

At the beginning of this year Ray returned to St Martin’s (now Central Saint Martins) to share this story with them. He wanted to find out if there was any record of what happened, and whether this happened to anyone else. If it did, he wants their testimony to be shared with today’s students so that they could see how recently discrimination of this kind was still commonplace, even at an institution many assumed would have been a beacon of tolerance; if this was systemic, this would be an important part of their history.

He returned with the testimonies of those surviving house-mates who were interrogated and a wealth of documentary evidence confirming his presence at the school, but sadly there is no trace of him ever having been there at all. He is still in discussion with Central Saint Martins.

 

Biography:

Ray Bentley is an award-winning painter from Stoke-on-Trent whose still lifes and figurative paintings have been exhibited throughout the UK. He now lives and works near Redcar with his partner and dog, where he spends his days eating biscuits, napping, not doing the housework, tweeting about his favourite things, reading thrillers and – occasionally – painting. You can learn more about him at www.raymondbentley.com or follow him via  https://twitter.com/bentleyteesside

 

If you missed Ray’s first FreeSpace (Drawing Mark from Memory) you can find it here.

And Ray’s second FreeSpace (Trumpets: Drawing Billy From Memory) can be found here.

 

nb. Ray, happily, is also one of our Viking artists taking part in ArtiPeeps’ 2014/2015 largescale collaboration The Nine Realms

 

FreeSpace is a creative opportunity that offers 3 posts on ArtiPeeps to an individual or group for showcasing or a project. The slots can be taken in a cluster or spread over a period of months. Do get in touch via the contact form on the What’s On page or via comments if you’d like to take up this opportunity.

Weekend Showcase : Chris Nugent (Artist)

28 Nov

Spotlight

Every Friday, 1 creative, letting their work speak for itself.

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Chris Nugent

 

Piece 1 Chris Nugent

Neuropia

 

The white picture [above] with the colourful pattern i call Neuropia. It was created to give of happy vibes and energy. The patterning representing thought processes and the endless possibilities of the mind.

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Piece 2 Chris Nugent

Biophot

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The even more colourful picture I call Biopoht [above]. Quite simply a fantasy dreamland and colourful feast for the eyes. As with all my work i like to feel uplifted when i look at it and also hope it has the same effect on other people.

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Biography

I have always had a creative side to me, but never known how to express it. Often picking up a pencil to sketch something, only to face a mind blank and a complete lack of idea. I left the Royal Navy earlier this year and found i had a little more time on my hands to express some creativity, so i got that pen and paper out and just let my mind wander. What came out of this i thought to myself is pretty good. So there it started, about six months ago, and hopefully i can now start to get my work out there, try bigger pieces and new things. My pictures are my escapism and i now feel i wouldn’t be me without doing them. So here’s to the future, and what creativity it may bring with it.

https://twitter.com/doodleartz

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* Weekend Showcase is a simple showcasing opportunity for creatives from any discipline. The opportunity features a creative and the piece they feel best represents them at the moment. If you would like to be showcased do get in  touch via the contact form on the What’s On page or via the comments or reply tab at the bottom of posts. 

 

Thank you for your interest.

Seasons Collection by artist Tracey Jane Cooper (FreeSpace #3)

25 Nov

Welcome to the final FreeSpace post from artist Tracey Jane Cooper showcasing 3 paintings  which are part of her….

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 Seasons Collection

– Scottish Meadow, Autumn Fire, Warmth-

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Scottish Meadow

30 x 30 cm acrylic on canvas

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Scottish Heather

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I painted this piece after a recent visit to Scotland. The colours reflect those found in my newly discovered Cooper family tartan. It is based on one of my very first paintings which proudly lives in my home.


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Autumn Fire

15 x 15cm acrylic on canvas

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Autumn Fire

 

This painting reflects a blazing Autumn sunset, the flowers and plants now seedheads, some reflecting in the glory of the sun before they die off in the cold Winter.

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Warmth

30 x 30 cm acrylic on canvas

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Warmth.

Imagine the sky is still blue from a crisp Autumn day, the flora is turning to deeper shades and the sharp breeze is whipping through the air.

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 Biography

Tracey recently began painting again after many years dreaming about it.

I’m inspired by nature, particularly the sky. The sun and it’s warmth or coolness always feature, sometimes you can feel the heat of the sun in them, often the flowers are blistering in the intensity of it and that’s what I like to portray.
 
I paint mainly with acrylic, sometimes with watercolour for more fluidity, depending on the piece.
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https://twitter.com/traceyjanesart

 

If you missed Tracey’s previous two FreeSpaces you can find them here and here.

 

 

FreeSpace is a creative opportunity that offers 3 posts on ArtiPeeps to an individual or group for showcasing or a project. The slots can be taken in a cluster or spread over a period of months. Do get in touch via the contact form on the What’s On page or via comments if you’d like to take up this opportunity.

Trumpets: Drawing Billy from Memory by Ray Bentley (FreeSpace #2)

19 Nov

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Falling Asleep Reading

Falling Asleep Reading

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Trumpets: Drawing Billy from Memory

 

Last year Nicky allowed me to share the story of the first, and, indeed, the last surviving of my London friends. Over the next two weeks I’m going to be writing more about that time, but I’m going to start by retelling the story his life, and about how I tried to draw him from memory nearly half a century after my first sketch of Mark.

 

I owe everything in my adult life to the suffering of Billy. If he hadn’t been severely beaten as a child, and if he hadn’t been bullied by religious zealots, things could have been much less interesting for both of us.

Billy made the first of many attempts to escape from his parents at just seven, when he was found at the local railway station trying to buy a ticket to London. He didn’t succeed then, but that taste of release was enough to make him clock-watch for the next eight years until he finally broke free.

He was raised in a Salvation Army family, and he hated everything about it. There was no dancing, no theatre, no pictures, no radio, no music worth listening to and definitely no drinking, just trumpet lessons and prayer meetings and endless, perfunctory traipsings in stupid, ill-fitting uniforms. There was nothing to do in fact, but save, plan and daydream for his big getaway, which turned everything, including school, into an unnecessary distraction. Although he was never a naughty child his indifference was generally taken as insubordination, and his frequent chastisements eventually culminated in a beating with a board ruler that was so severe that it fractured his wrist bones; he was just thirteen.

He lived with the pain for a few days afterwards, and it was only once he fainted on the way home from school that a botched attempt was made to reset the bones. This marked the beginning of a series of costly to-ings and fro-ings to hospital which eventually led to a sepsis in his arm. His doctor recommended amputation, but Billy insisted otherwise, and he found another physician that was able to save the arm – at a cost.

The resultant damage made it near impossible for him to comfortably hold his Salvation Army band trumpet while it was still healing, which seemed to make little difference to his insistent parents. Just shy of his fifteenth birthday and the end of his tenure at school, he decided he’d had enough. He gathered what he’d been able to save and made the journey from Teesside to Tilbury docks, where he attempted to board passage on a merchant vessel.

 

Bathtime Learning

Bathtime Learning

 

It was fortunate for Billy that the first man he met knew where his best interests lay. He fed him and persuaded him to return home, and to come back when he didn’t have to lie about his age. He gave him all the money he had, which was just enough to get him as far as Doncaster, leaving him shy of home by eighty miles. It took him three days of walking and hitching on mostly empty roads to reach his sister’s house in Thirsk, where they had to cut him out of his boots.

This adventure, the first of many, and probably the best, gave him the quiet invincibility he would need to make the rest of his life just as exciting. To be fair to his parents, it did shock them into cutting him enough slack to stopping him running again, and he held on until he was finally rescued by the outbreak of war.

He went to enlist with his local battalion, The Green Howards, but quickly changed his mind when he was told that it was, at that time, standard policy to remove the teeth of new recruits. He decided to cross The Pennines and join The East Lancashire Regiment instead, which allowed him to keep more than his teeth; all but eight of his fellow recruits from the Green Howards were killed shortly after they went into active service.

The battalion recognised his physical limitations and gave him an administrative role, and his life blossomed as he was sent first to South Africa and then Egypt. He was captivated by the colour, the levity and the sensuality of these countries, and he developed a taste for life at its fullest: food, culture, travel, diversity and of course, sex, all experienced anew at a time when his life could be taken at any moment. Having lost his virginity – as most of his comrades did – in the brothels of their nearest postings, Billy then had his first gay relationship with a British Officer in Cairo, a self-discovery which would only enrich his life further, and which lent him an attitude to sexuality and fidelity which was completely unfettered by the domestic mores of the time.

After what was for him a very enjoyable war he returned to London, where he secured a job as a warehouseman at Derry & Toms, a department store in Kensington. It was while working his way through the ranks that he met Leslie, who became his first long term partner. Leslie worked for Odham’s Press, a publishing house in London, and he did as much to broaden Billy’s perspectives as the conflicts of his formative years.

They took a flat together at the wrong end of Chelsea at a time when furniture was “on coupon”, so they had little choice but to appoint their flat with cheap antiquities. Their home became something of a meeting point for West London’s smart, gay demi-monde, and Billy was given a masterclass in polite bitchery and sharp-tonguedness that was as gruelling as anything his military training had thrown at him.

They separated amicably in 1955, when Leslie went to Venezuela with his new partner, leaving Billy to hold fort both in Chelsea and at Odhams, where he inherited Leslie’s professional duties. It was a year later that I first came into his life after we were match-made by Mark, who I told you about last week. I was still seventeen, and I’d been in London just a few weeks. Billy was thirty eight, and together we started a personal and business adventure that would last for another 30 years.

Despite the age difference we flourished because we were in the early stages of the same journey. Billy was learning more about fine art at the same time that I was doing my diploma at St Martin’s, and it was this shared appetite, combined with our own separate adversities which led us to open a shop together four years later. I’ll tell you more about my own journey next time.

He left from Odhams shortly after we’d met to join a new company that organised international trade fairs for publishers, but the plug was pulled in 1960 when it was discovered that the fairs were being used as cover for British spies who were operating in Eastern Europe. With the money he’d saved and the income I contributed, we opened a shop together on Pimlico Road selling early English watercolours, prints and old master drawings.

When we started there was nothing but a baker, a dry cleaner, a haberdashers, a few empty shops and a bomb site on our part of the street, and the time we spent building our customer base and travelling England’s B-roads in our rickety Morris in search of stock was probably the happiest time of our lives.

Despite his burgeoning tastes and passions Billy lived free of any middle class affection, and it was very much the case that his brusqueness, his fearlessness, his knowledge, and his complete lack of concern for the fripperies of bourgeois life endeared him to our upper class customers.

Lost at Sea

Lost at Sea

 

In less than six years – through no effort on our part – our patch of London had become the heart of a revitalised city that was, for a short while, the centre of the world, but it made us too busy to notice the finer details of this mini-renaissance, much to our regret.

We finally moved from London to Bedfordshire in the late 1960’s, but our decision to join the commuting classes and inveigle ourselves in the pettinesses of suburbia never sat well with Billy, whose main contribution to the cultural life of our new home was the ease with which he could sleep his way through the erring husbands and wives of the town.

 The business was so successful that it effectively ran itself, but Billy lost his appetite for it as the sixties came to a close. We kept going – even though I now feel we should have got out earlier – until he fell ill in 1984. The fire-haired, pale-skinned Billy had been burned by the sun during his military training in Egypt, which returned as the melanoma that took his life in 1986. As his end grew closer, he never lost his passion for life, he never became embittered, and he never allowed himself to fall into the trap of wanting more; the deaths of young colleagues had become commonplace when he was a soldier, and he knew he’d already had more than his fair share. Like the first Peter Pan before him, he considered death to be the next great adventure.

I arranged all of the civil details for Billy’s funeral, but at their insistence I allowed the service to be arranged by his sisters. They passed it to a Salvation Army Officer who had never met him, and who delivered a memorial which made no mention of his military service, nor any of his life after he left home. My own bouquet was removed from his coffin, and I was duly handed the bill for everything; he would have been disgusted that the religious jobsworths who had driven him from his home had returned to bring him back for good.

He left a legacy which is still celebrated by those of us who knew him. He was tough, disdainful of weakness, contemptous of self-pity, opportune, impulsive, and frequently errant, but he was also extraordinarily kind, thoroughly honest and in all other respects tireless reliable in all of his dealings.

The drawings included, I did of him at various times of his life. I tried to paint him afresh for this, as I had done with Mark, but unfortunately I no longer hold a strong enough picture of his face in my head for me to be able to do so. The watercolour, which I painted on holiday in Greece, gives a sense of how he relished every opportunity to immerse himself in the heat and colour of the world without any fear; this is how life should be.

 

Biography:

Ray Bentley is an award-winning painter from Stoke-on-Trent whose still lifes and figurative paintings have been exhibited throughout the UK. He now lives and works near Redcar with his partner and dog, where he spends his days eating biscuits, napping, not doing the housework, tweeting about his favourite things, reading thrillers and – occasionally – painting. You can learn more about him at www.raymondbentley.com or follow him via  https://twitter.com/bentleyteesside

 Watch out for the second instalment of Ray’s FreeSpace on Wednesday 3rd December

 If you missed Ray’s first FreeSpace (Drawing Mark from Memory) you can find it here.

 

 

FreeSpace is a creative opportunity that offers 3 posts on ArtiPeeps to an individual or group for showcasing or a project. The slots can be taken in a cluster or spread over a period of months. Do get in touch via the contact form on the What’s On page or via comments if you’d like to take up this opportunity.

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