The title has been taken from the GK Chesterton poem ‘The Rolling English Road’ which concludes:
‘My friends, we will not go again or ape an ancient rage,
Or stretch the folly of our youth to be the shame of age,
But walk with clearer eyes and ears this path that wandereth,
And see undrugged in evening light the decent inn of death;
For there is good news yet to hear and fine things to be seen,
Before we go to Paradise by way of Kensal Green.’ (IG)

The thing about gods and monsters is they’re so often interchangeable. We make our gods from the stuff around us, stuff whose ubiquity and more or less constant historical sameness – reptiles and receptacles, twigs and tables – generates a strange spiritual intensity. Things that don’t change now might never. And whether they’re benevolent or not depends on how, and who, you ask.(IG)

In the muted light of a ruined chapel: I am set on a hunt for the works within, some are placed with such subtlety, to be almost hidden or hung with reverence, high up amid the shadows. In contrast, as many sculptures confront me as there are objects and paintings to be happened upon and pondered over.

While the subject of many works could be overlooked during the everyday, here they are offered up as etherial entities and just like the ‘wonky avatar’ (IG) I am encouraged to look upon these subjects as if for the first time with a quizzical gaze, free from my perception of their real life significance.

Artists: Eleanor Morgan, Brian Sayers, Karl England, Edwina Ashton, Rose Wylie, Gabriel Hartley

Head over to Intervention on Flickr and Face Book for photographic documentation: The meeting of Intervention gallery and the Anglican Chapel at Kensal Green.

Rose Wylie on Articulated Artists

You can see pictures from the event HERE

Vintage at Goodwood is a brand new and truly unique annual event which celebrates 5 decades of British Cool. It brings together and celebrates the music, fashion, film, art, dance and design from the 1940s, 50s, 60s, 70s and 80s, that has made Britain the world’s creative and cultural hot bed. Vintage will explore this rich cultural history and the extraordinary influence that it has had on the modern world (VG)

This weekend is Vintage Goodwood and ‘Bad Art Salon’ for which one of my paintings has been selected. Its going to be a brilliant event with music, art, fashion and more. Come!

To say I am excited about it is a bit of an understatement. Also, you might find me at the roller disco.

Follow Vintage Goodwood on Twitter or join the Face Book group for news and info.

Back in July….
The Alien Art Hunt at Latitude Festival
15-18 July 2010
Suffolk

I donated a drawing to the festival Art trail organised by Artist Mark Scott-Wood. The event was a huge success as you can see from the photographs HERE (WARNING: scary Aliens within)

Puce Moment takes it’s title from the 1949 short film by Kenneth Anger in which 1920s starlet, Yvonne Marquis, idly browses through her vibrantly coloured wardrobe. This recreation of Hollywood silent era decadence in luscious colour is hard to place, its shaky, hand-held camera work giving it a personal yet curiously contemporary edge. (Transition)

The exhibition Puce Moment features four painters who revel in glorious vulgarity. Whether through attitude, subject matter, or the style and appearance of their paintings, the artists harness crude attributes to boldly transform and subvert their subjects into visually emphatic, painterly moments.(Transition)

Kenneth Anger on Wiki

Gems wrapped in velvet: Captured on film within an opulent existence of fame and lush surroundings with kitsch fabric, coloured glass and dazzling crystals. A feeling of longing for a simple time remembered as easier to navigate, an escapism for the subject and the viewer. A wash of nostalgia, though ultimately a figure existing within a gilded bubble.

Perfect moments in paint: From the tiny precious glamor and the iconic image to the ambiguously melancholy. These are moments treasured and each painting is given the space to breath, in this way I am given time alone with each one. I feel fiercely protective of the tiny chic poodle then in awe of Elvis captured at his best. I feel as if I am experiencing a private display of deeply held, personal idols.

ARTISTS: Carla Busuttil, Paul Housley, Cathy Lomax, Alli Sharma

In the Shop Space: Michael O’Mahony

Apocalyptic Tape Collection

These tapes are premised on the idea of me being the sole survivor of an apocalypse. I imagine in this event I would take up the reins of the music industry and these are the albums I would make for myself…. (MM)

For more pictures from the exhibition head over to the Transition group on Flickr

This post has a partner: Tightening The Ties of His Robe

These paintings are relatively fast, very small and growing in number, documenting as I go. Something I recommend actually. It helps to gain some distance.

..Through the use of paintings, collage and installation, the exhibition will explore the affinities between both artists who were influenced by the Romantic ballet era.



Both artists’ frame of reference extends to the presentation of their works and the surrounding environment in which they are encountered. The organizing motif of Cornell’s Hotel series is the window, which invites the viewer to consider interior and exterior views, clearly establishing the successive rounds of reality to the mystery beyond.

For the exhibition, his poignant works will be respectively showcased within the midnight blue of the gallery walls, used by the artist in his collages to create impressions of the sky and which he believed to evoke contemplation of the celestial. In addition to the painted walls and, characteristic of Kilimnik’s theatrical installations, the gallery will be transformed into an aesthetic context which alludes to the salon era of the nineteenth century, enabling the viewer to palpably enter into a dialogue with the past.(Spruth Magers)

A beautifully deep midnight blue embedded with child like dreams: This room engages all of my senses and brings forth tiny half forgotten memories from a childhood long past, along with images, not just of romantic dance and movement but the thrill of embodying the observer and performer in private spaces as well as theatrical. My eyes are drawn upwards into the darkness, as if searching a middle distance.

These objects line a path to the romanticism of the past: And as if walking onto a stage, from a dim glow into spotlight the drama of the music pushes forward with every step.The last installation feels like the other side of the performance, the dance without the dancer, where I am walking off stage, out of the spot light and into the harsh bright light of the outside world. Returning from a personal and historical past.

Thanks to SHOW OF THE WEEK for the tip. If you have seen the show you can head over to SOTW and get involved in the discussion there too.