Whoever decided to make an Internet deserves a medal, a round of applause and a year's supply of free socks.
It really is that good.
You paint a picture of a retired lady living in quiet seclusion, and thanks to the power of digital earbending you are able to talk about it with her family on the other side of the world.
Add to that all the people who have seen and responded to it and all of a sudden you're global.
Nifty, isn't it?
Ruth is well pleased with the result, I'm relieved to say, as are all the other people who have their stories woven into the imagery around her.
For me it's been an education in allowing a painting to reveal itself through the people that it's built around, rather than dictating what should be.
It started out as a statement about age, indifference and the innate strength of people of experience but it's become something more than that.
Somewhere along the line it turned into a focal point that has got people talking to each other, formed connections and turned the spotlight ever so slightly onto a remarkable lady.
And just when I was starting to believe that I had the power to alter lives, shape the world and walk on water one of her colleagues casts a critical eye over it, declares it to be 'nearly as good as a proper painting' and sweeps past in a cloud of peppermint and disdain.
Feet back on the ground, on with the next...
Tuesday, 18 October 2011
Wednesday, 28 September 2011
Somewhere in France
Time to bring this to its conclusion.
I loaded him into the van and drove to France; to the battlefields, the stories, the events which no longer prey upon living memories.
I had always intended this.
In fact, the final chapter was the first thing I had envisaged.
The Great War has become part of a historical syllabus, a tourist attraction and a focus for the amateur militarist.
So what was I doing there?
As a subject it has a magnetic sense of drama. The statistics are so difficult to comprehend, the attitudes so foreign to modern sensibilities and the effects on the 20th century so seismic that it still has the power to draw us in.
For me, though, there has always been something else.
Despite all my understanding, all my research,and a sense of near tangible connection, part of me needed to know if in fact all of this actually occurred.
Was it real? Did this thing happen to living, thinking men?
I chose to place him in a wood overlooking a field where tractors trundled up and down collecting the harvest under gunmetal skies. Ninety five years before the weather had been similarly grim, and the wood had been a hollow in the landscape studded with shattered trees. The whole place has changed remarkably little, and dragging the inert weight of the wireman through the mud and undergrowth seemed fittingly macabre.
Adrenalin is a wonderful thing when you're doing something you don't want to explain.
I had dug into the top of the earth bank that bordered the site, cutting my hands and cursing the locals for filling the woods with broken bottles and cans.
Under cover of the foliage, I set the wireman in concrete, backfilled the hole I'd dug, filmed him and stepped away.
He's there now, and for who knows how long, facing what had been a section of No Man's Land well documented by war poets of the time and no end of historians since.
The bald facts are easily established. On a summers day in 1916 a battalion of the Manchester regiment (about 700 men) had attempted to cross this field and bludgeon their way into a position that was clearly visible about 300 yards away on the horizon.
It didn't happen.
Over 500 of them didn't come back.
The wood was a safe place then, a refuge from the gunfire. Men huddled together here before chancing the odds.
The tractors were getting closer now, ploughing up to the edge of the wood, so I packed up and left.
I gathered all the materials I'd brought, bundled up with the rubbish I'd unearthed, and crept back to the van, unobserved.
The next morning, I sifted through the rusted metal, earth and broken glass.
I'd seen the graveyards, the memorials, the lines of the old trenches still visible in the woods. I'd stepped around unexploded shells turned up by ploughing, visited museums full of artefacts, but nothing had really touched my sleeve and whispered in my ear of young men lost in a distant moment, far from families, never going home.
The dirt offered up it's secrets: a piece of barbed wire, a soldiers spoon, a fragment of a rum jar, a small unbroken bottle.
Was it real? Were they here? Can echoes last this long?
The bottle, heartbreakingly ordinary and yet, to me, so poignant has lasted nearly a century in the ground, and lived to tell it's tale.
This was the right place to choose, and the right thing to do.
I say goodbye to the lost boys.
The bottle's Yorkshire relish.
Tuesday, 13 September 2011
Phoenix
I was worried.
After all this work, after all the hopes that it would be suitable, fitting, relevant - would it work?
I was concerned that when he burned the wires that joined him would break, that he'd spring into an amorphous tangle of meaningless wire.
What if he collapsed under his own weight?
What if we couldn't get him to a beach - there are so many restrictions on what is 'allowed', so many voices ready to rise up in fear and disapproval.
With the concrete applied to his feet it was going to be a major event just getting him there.
As we drove to the coast, something with a touch of magic in it came along for the ride, and the day became a gift.
A perfect beach, a perfect sky, a perfect place to witness a baptism of fire.
After weeks of biblical rainstorms the clouds break up and drop a perfect orange sun onto the horizon, right in front of us.
As the sea breathes in and out the boulders sound like bones rattling.
There's just enough breeze to make the flames dance, and as we stand watching the figure of the Wireman emerge from the fire, a full moon rises up behind him and throws his shadow across the shoreline.
Something greater than the making of a wire figure has happened, and the occasion makes its presence felt.
I am with my son, on a beach watching something unimagined and elemental take place, and I am grateful for everything that has lead to this moment.
Thank you, Chris, for making the moment permanent - your photographs are an event of their own.
After all this work, after all the hopes that it would be suitable, fitting, relevant - would it work?
I was concerned that when he burned the wires that joined him would break, that he'd spring into an amorphous tangle of meaningless wire.
What if he collapsed under his own weight?
What if we couldn't get him to a beach - there are so many restrictions on what is 'allowed', so many voices ready to rise up in fear and disapproval.
With the concrete applied to his feet it was going to be a major event just getting him there.
As we drove to the coast, something with a touch of magic in it came along for the ride, and the day became a gift.
A perfect beach, a perfect sky, a perfect place to witness a baptism of fire.
After weeks of biblical rainstorms the clouds break up and drop a perfect orange sun onto the horizon, right in front of us.
As the sea breathes in and out the boulders sound like bones rattling.
There's just enough breeze to make the flames dance, and as we stand watching the figure of the Wireman emerge from the fire, a full moon rises up behind him and throws his shadow across the shoreline.
Something greater than the making of a wire figure has happened, and the occasion makes its presence felt.
I am with my son, on a beach watching something unimagined and elemental take place, and I am grateful for everything that has lead to this moment.
Thank you, Chris, for making the moment permanent - your photographs are an event of their own.
Wednesday, 31 August 2011
Ouch...
After two days working with pliers, wire cutters and steel wire that was specifically designed to discourage close contact, I'm starting to wonder at what point this seemed like a good idea.
I knew at the outset it was going to involve a certain amount of laceration but since the whole point was to pay my respects to men and boys who fought through forests of barbed wire whilst being shot at I could hardly make a fuss over a few scratches.
What I hadn't allowed for was the way it gets into your head.
Every time a length of wire coils round and snags my clothes, catches my gloves or bites into me it creates a curious sense of panic, a bit like claustrophobia.
Once it's got you, this stuff doesn't let go.
When it snags the tape and paper mannequin it tears it up like flesh, and there are parts of it that are now bloodstained from where it got the better of me.
Even the method of tying the strands together where they cross involves using two pairs of pliers and a circular coil of thin wire to stitch them together, the same way they sew up wounds in hospitals.
Having virtually finished the wire binding, I then have to cut through his legs to replace the wood and paper of his feet with reinforced concrete.
This will give him a firm base to stand on, and support the rest of the figure without it bending under its own weight.
Ok so far.
Sawing through the paper 'muscle' and on through the wooden 'bone' feels uncomfortably like some bizarre field amputation.
I am now completely weirded out by the whole thing and beginning to wish I had never started it.
Knowing it's likely to rain I cover the now prone figure with a tarpaulin and give my hands a chance to recover.
Every time I glance out the window I can see it in the garden, looking like a dead body waiting to be collected.
The next project is going to have to be really really happy to balance this...
I knew at the outset it was going to involve a certain amount of laceration but since the whole point was to pay my respects to men and boys who fought through forests of barbed wire whilst being shot at I could hardly make a fuss over a few scratches.
What I hadn't allowed for was the way it gets into your head.
Every time a length of wire coils round and snags my clothes, catches my gloves or bites into me it creates a curious sense of panic, a bit like claustrophobia.
Once it's got you, this stuff doesn't let go.
When it snags the tape and paper mannequin it tears it up like flesh, and there are parts of it that are now bloodstained from where it got the better of me.
Even the method of tying the strands together where they cross involves using two pairs of pliers and a circular coil of thin wire to stitch them together, the same way they sew up wounds in hospitals.
Having virtually finished the wire binding, I then have to cut through his legs to replace the wood and paper of his feet with reinforced concrete.
This will give him a firm base to stand on, and support the rest of the figure without it bending under its own weight.
Ok so far.
Sawing through the paper 'muscle' and on through the wooden 'bone' feels uncomfortably like some bizarre field amputation.
I am now completely weirded out by the whole thing and beginning to wish I had never started it.
Knowing it's likely to rain I cover the now prone figure with a tarpaulin and give my hands a chance to recover.
Every time I glance out the window I can see it in the garden, looking like a dead body waiting to be collected.
The next project is going to have to be really really happy to balance this...
Monday, 15 August 2011
Over The Top
Between 1914 and 1918 my grandmother collected every copy of the Bystander magazine for the humorous cartoons by Capt. Bruce Bairnsfather, a serving officer in the trenches of the First World War.
I still have them.
They were my first experience of comic illustration, and I believe they were in no small part responsible for me wanting to make pictures for a living.
However, there is also a dark side to them.
Humour and tragedy are close companions, and the idea of this chap being appointed as the official cartoonist to the British, and later American armies struck me as both brilliant and appalling.
How could you look for gags in a situation that was killing 3000 men a week?
Somehow he did, all in the name of keeping up morale.
Hats off all round, I say...
For as long as I can remember the whole story of The Great War has held a ghastly fascination for me, to the point where I wonder if it's all getting a touch obsessive and unhealthy.
For almost as long I've wanted to create something as what? - a tribute, memorial, personal show of respect, atonement?
Apart from a couple of exceptions, paintings of the subject just don't seem to work, maybe because photography has already produced so many iconic images.
Poetry is forever connected to the war poets themselves, and formal statues are so, well, static.
About four years ago I started on a lifesized figure made of barbed wire.
It began with a wooden skeleton fleshed out with newspaper and tape to get the proportions and stance right.
This is then wrapped with the barbed wire, held together by clips where the wires cross.
It's taken this long partly because it's so damned painful to work on.
The wire snakes around and catches on everything, the clips wreck your fingers and just moving him results in bloodshed.
In a small way it seems appropriate.
When he is finished I shall burn him to get rid of the mannequin, and after that he's going on a journey.
Sometimes the only way to deal with a compulsion is to let it have it's head and go with it.
Either way, this is by far the hardest, most physically demanding and troubling thing I've ever tried to make and it's taken so long to make that I've grown accustomed to having him around.
Mind you, it doesn't half give people a jolt when they come across him unexpectedly...
More to follow...
Tuesday, 9 August 2011
Art, tsk!
What do you think of when you hear the title 'Artist'?
Do you picture a free spirit, bravely defying convention to pursue their vision?
Someone who was not born to follow the normal pattern; someone who, by definition, is meant to challenge the rules that yolk the rest of mankind to the dungcart of mediocrity?
Hmmm?
Why is it then, that most of the ones I've bumped into seem hell bent on turning their dreams into 'product' that gets handed over to self important shopkeepers who take 60% or more, which in turn puts the work out of the reach of vast numbers of people who might actually love what they've created?!
And the worst of it is these brilliant, capable souls are so conditioned to it they're actually grateful for the opportunity to earn bugger all and be exploited from here to wednesday.
Blimey...
I'm not mucking about here, these are actual quotes from really talented, hard working artists that I've listened to:
"I've never met a gallery that wasn't completely up it's own arse"
"The last five cheques bounced, but he's promised to sort it out soon"
"I didn't like to ask about the money, but I'm sure it'll be alright"
People, WHAT ARE YOU DOING!?!
You're creative people, so think creatively.
You dream, you believe, you struggle, you achieve.
Now what?
Do you:
a. flog the results of your labours for a fraction of it's true worth, and accept that all that effort is then gone forever?
(rhetorical question, the answer is no no no no no - and.....NO)
b. find a way to make your work earn it's keep over and over again
(go on, have a guess at the answer....)
Ok, so by now you've gathered that I'm not going down that route.
Money where the mouth is time.
I'm going to make regular money from my paintings without paying anyone anything.
I'm not going to sell any of them. They are my collateral, my shopwindow and my advertisement.
Along the way I'm going to have a blast, build a following and best of all KEEP CONTROL OF THE WHOLE THING.
The difference is I'm not selling paintings, I'm selling me.
Today I made eight phonecalls to people who have never heard of me.
Five of them were interested in what I was offering, and I shall follow them up over the next few days along with as many other people I can get to press ear to plastic.
Watch this space...
Right, off to put on my lederhosen, a quick chorus of 'Tomorrow Belongs to Me' and cocoa in the bunker.
Monday, 8 August 2011
Hammer Time
Right, making progress now.
Spent the weekend getting stuck into painting and preparing for the launch of all this stuff onto an unsuspecting world.
More info soon, you have been warned....
Finally, finally getting into my stride with this one, so progress should now be reasonably swift.
It's so frustrating when I get stuck after an initial burst of "Wow! I can do this!' only to stall like a dancing dad who's spotted his reflection in the glitterball.
All I can do is adjust the medallion, close the eyes, go for the White Man's Overbite and keep throwing the moves until it all comes right again.
That's why artists have to paint alone.
Very keen to get this one finished now to see what Ruth and her friends make of it.
Spent the weekend getting stuck into painting and preparing for the launch of all this stuff onto an unsuspecting world.
More info soon, you have been warned....
Finally, finally getting into my stride with this one, so progress should now be reasonably swift.
It's so frustrating when I get stuck after an initial burst of "Wow! I can do this!' only to stall like a dancing dad who's spotted his reflection in the glitterball.
All I can do is adjust the medallion, close the eyes, go for the White Man's Overbite and keep throwing the moves until it all comes right again.
That's why artists have to paint alone.
Very keen to get this one finished now to see what Ruth and her friends make of it.
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