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Archive for the ‘art exhibitions’ Category

Garden of Significant Inspiration and Curious A-MUSE-ments at Shakespeare’s New Place in Stratford-upon-Avon

O for a muse of fire that would ascend the brightest heaven of invention.

So wrote William Shakespeare in the Prologue to Henry V –  and a few days ago we were in the garden at New Place, Stratford-upon-Avon, site of Shakespeare’s former family home – infusing marbles with the power of that same muse.new-place-stratford-upon-avon

In case you’re thinking that sounds eccentric and zany, you’re right – and through the path of the eccentric many of the greatest minds have found both inspiration  and ideas that have changed the world.  Below is an approximation of what Shakespeare’s family home would have looked like. No picture-of-an-approximation-of-shakespeares-new-place-his-own-family-homehouse currently exists at New Place, but is instead represented by a series of gardens is where we embarked on a “Muse Catching” journey with the United Nations Board of Significant Inspiration (otherwise possibly understood as a group of artists / creators / thinkers / acrobats / inventors / actors whose goal is to awake the imagination, fill the mind and heart with fresh possibilities, and raise up the muse for members of the public who choose to visit).

Our purpose: to each take a marble and catch in it some of that muse Shakespeare wrote about, through the four elements of earth, fire, water and air.

The journey itself is full of fun, wonder, laughter inspiration and delight – and at the bottom of this wonderful, quirky, fanciful Art Happening, is a profound question and a fascinating subject for research: is there a correlation between place, time and lightbulb moments?

Shakespeare’s family home no longer exists because it was demolished by a character Shakespeare himself might have created. This “Art Happening” as I like to describe it, was based upon the idea that “the muse” is somehow present in the location where Shakespeare lived and wrote.  Many of us are familiar with the idea of certain places having a high level of inspiration. Often it seems to be present in the air, or lie hidden in the fabric of a special building, or within a natural phenomenon or feature of the landscape. But does it perhaps emanate from the ground? This is the idea played with and embodied by the UNBOSI at New Place this Christmas.  In the roundel at New Place, several information boards explored this, noting that many world-renowned geniuses had their lightbulb moment by doing very silly things – or by having very silly things happen to them.

So let us be inspired by the fanciful, creative, quirky and even silly… for along that path may lie greatness.

 

 

 

Antithesis to HRH’s Quirky Garden Rooms Full of Curiosities: Compton Verney Capability Brown Landscape

Isn’t it lovely how many different moods and themes can be captured by garden designers and landscape architects?

The parkland surrounding Compton Verney house, Warwickshire

The parkland surrounding Compton Verney house, Warwickshire

A week ago I was speaking to the guide who led our tour around Highgrove Gardens about how HRH The Prince of Wales viewed Capability Brown. And the answer was that he realises in some contexts the ideas of that great eighteenth century garden designer might be appropriate, but personally it’s not his “sort of thing”. For when Capability Brown was brought in to transform the surroundings of a stately home, he would be thinking of sweeping lawns flowing seamlessly into the extensive parklands via the ha-ha, dotted with majestic parkland trees, and would of course throw in a cunningly-situated lake, which would create a perfect vista from the house.  This is a profoundly different  approach to that of the sequence of interconnected rooms full of  quirky and unexpected things, which is itself a very popular style of garden design among the great gardeners (such as Vita Sackville West with Sissinghurst Castle Garden, of course).

View across the new wildflower meadow to the chapel at Compton Verney

View across the new wildflower meadow to the chapel at Compton Verney

However yesterday I was in one of my favourite Capability Brown landscapes at Compton Verney in Warwickshire

And again I thought how calming and uplifting it is to be in this spacious parkland, which wraps around the house perfectly, providing an ideal setting.

But there’s now a new feature in the landscape, of which HRH the Prince of Wales would wholeheartedly approve: a new wildflower meadow on the West Lawn, with mown paths running through it corresponding to a William Morris design, relating directly to the theme of the excellent Arts and Crafts exhibition currently showing inside the house.

As we visited it on the last day of August the wildflowers were long past their best; apart from a single patch which gave some idea of what the entire meadow will look like next May:

Wildflower meadow at Compton Verney

Wildflower meadow at Compton Verney

Believing in Dreams

It is a dream… of what has never been… true, it has never been, and therefore, since the world is alive, and moving yet, my hope is the greater that it one day will be… dreams have before now come about of things so good… we scarcely think of them more than the daylight, though once people had to live without them, without even the hope of them.

William Morris Strawberry Thief design

William Morris Strawberry Thief design

These words are from William Morris the great Victorian designer. His dream was that everyone would “have his share of the best”; he longed to see art at the centre of everyone’s lives so that they might “always  have pleasure in the things that they use.”

Right now (June-September 2015), there is an exhibition of the work of William Morris and his contemporaries at Compton Verney, an art gallery very close to where I live in Warwick, a place I love visiting.

I love William Morris designs (as you’ll see from a former post on this blog) and have just bought a tapestry shoulder-bag with the Strawberry Thief design on it.. True, art and design in our lives often has a monetary value; this seems to be the nature of human life.

But to me, William Morris’s dream of everyone having his or her “share of the best” is the ultimate democracy, the democracy of ‘value’ and quality of life, above all else, whatever our circumstances. As we know this dream is very far from being realised in our world. But how inspiring William Morris’s words are, and how encouraging his vision, for those of us who dream, and have high ideals.

Witty Insight into the London Art World

For all those who’ve wondered how one starts to get noticed as an artist in London, and is in the mood for a light-hearted approach to the subject I can recommend a book which might have escaped my notice if I hadn’t recently met the author at a conference.

witty look at the London art world by Emily Benet

witty look at the London art world by Emily Benet

Emily Benet first posted her book chapter by chapter on Wattpad and had such a good response from readers that she came to the attention of Harper Impulse, who published the book as “The Temp”.

I bought the book after listening to Emily talking about social media for authors at the recent conference at the University of Leicester. Emily certainly incorporates her knowledge of social media into this novel.

I learned from her that the book was originally called “Spray Painted Bananas”, and I believe that was a much more original title. Purely from the cover design and title that Harper Impulse have given this novel I would have identified it as generic chick-lit and probably not have picked it out in a book shop.

And yet, reading the novel, I find it much more than chick-lit. It gives a delightful and witty insight into the London art world, and I found myself thinking of the main protagonist, Amber, as a budding Tracy Emin.

It’s so easy to look at installations in the Tate Modern and think, Oh I could do that. But the reality of getting yourself known as an artist is far more complex and challenging. Emily Benet has great fun, not only with the motivations and behaviour of those who visit art galleries for private views, but also with the ways in which an artist may start to become known, particularly in London.

I loved this story, found the characters engaging and entertaining, especially Amber’s flatmate Egg, and enjoyed the rom com element as well. Highly recommended for a fun read.

For some of my previous posts on the contemporary art world, see https://scskillman.com/2013/10/09/what-do-we-do-about-art-theres-always-a-little-shop-at-the-end/ and http://ezinearticles.com/?Inspiration-for-Creative-Writers-From-Artists&id=6783241

New Novel ‘A Passionate Spirit’ by SC Skillman

I’m pleased to announce that I’ve just signed a contract with Matador to publish my new novel A Passionate Spirit.

I hope to have the cover art to show you here on my blog before too long!

200 Years of Australian Art at the Royal Academy: Connections Between Painting and the Spiritual Realm

From indigenous art through to ‘discovery’ by European explorers, the arrival of the first British settlers, dismay, denial and idealization, to  acceptance, new understanding and redemption, this exhibition of Australian paintings at the Royal Academy in London took me on a journey through the spiritual heart of my own experience of this great continent.

AUSTRALIA EXHIBITION, Royal Academy of Arts

AUSTRALIA EXHIBITION, Royal Academy of Arts

As Russell Drysdale said, “In Australia there is a quality of strangeness that you do not find … anywhere else.”

Reviews of this exhibition have  been mixed, with a lot of  criticism levelled at it in the UK. But from the first painting of a  convict settlement, neat, peaceful, well spaced out and idealized, through to the contemporary paintings struggling to reconcile the wounded history of cruelty, misunderstanding and conflict between aboriginal people and European colonial settlers, this exhibition was for me an opportunity to revisit and relive my own experience of four and a half years living in this great continent.

In particular a swirling picture by a Queensland artist of the rainforest-clad mountains near Brisbane seemed to reflect exactly my own experience of this beautiful landscape.

The indigenous artworks were particularly moving, with their distinctive use of rarrk – the cross hatched patterns characteristic of aboriginal artists, as they depict rain running down dunes, undulating landscapes, waterholes and trees and spirit ancestors, believing that we tread the earth for a while then come out of it and become part of the ancestral realm again.

Two phrases seemed to touch the heart of this exhibition : “access to” and “isolation from”. Both of these were exemplified in a painting by John Brack, The Car (1955) which I couldn’t help responding to with amusement and yet behind it lay a profound resonance: a family in an ugly cheap car, out for a day trip, the father at the wheel, the mother smiling, the two children in the back staring straight at you, the viewer… and behind them the vastness of the Australian landscape.

And the picture “Australian Beach Pattern” by Charles Meere (1940) of the bronzed perfect bodies on the beach, men, women, children and babies, all strong, confident, was for me worryingly reminiscent of the kind of the pictures produced by artists in the Soviet Union as part of a propaganda campaign for the Soviet communist party. Yet later, the trauma of the Second World War affected the mood of optimism and this image was superseded by Albert Tucker with a painting of red,scorched hunks of flesh on another beach.

There was no painting of Sydney Opera House, my favourite of  all buildings; but there was one by Grace Cossington Smith of Sydney Harbour Bridge being built, (“The Bridge in Building”, 1929) viewed from below,  demonstrating pride, hope, creative enterprise, ingenuity, and above, beyond and around it a distinctly spiritual resonance.

The indigenous people of Australia  were the ones who fully understand and imbued the earth with sacred forces. They were the ones who gave this continent its air of mystery and spiritual power. And yet I can,too, be thankful to those eighteenth century settlers, because they prepared the way so that I,and many others, might have access to the most sublime of scenery. Even now when I drive up a steep winding road I think “Mount Glorious” . And when I saw Kenneth  McQueen’s picture I thought “Yes!” And my heart lifted. “Maiala Rainforest” – conveyed just as I experienced it and remember it now, in swirling patterns of movement.

What Do We Do About Art? There’s Always a Little Shop At The End

What do we do about art  when we wander around great art galleries and museums?

How I integrate art into my own life, on the wall of my writing space (photo credit Jamie Robinson)

How I integrate art into my own life, on the wall of my writing space (photo credit Jamie Robinson)

We see wonderful things on the walls and maybe we’re overwhelmed.

These great art works are distanced from us, somehow, by the awesome spaces and dimensions of the gallery.

We could never have these original art works on the walls of our own homes.

But they speak to us. There’s something in them we want to take away, something we want to claim for our own lives. Something that tells us about ourselves, our own hearts and souls.

So what do we do?

As David Tennant’s Doctor said to his  assistant Donna in the Doctor Who episode Silence in The Library, “Quick! The shop! There’s always a little shop at the end!”

On BBC Radio 4 Today programme at 8.20am on Wed 9 Oct 2013, two writers with new books out, Desmond Morris (author of The Artistic Ape and Alain de Botton (author of Art as Therapy) discussed art and how it affects our lives. And one of the things they said struck me: “If we did not have art in our lives, the world  would be very drab. We need it in our lives. But what do we do about art? We go to the gift shop, and we buy postcards. That way we can integrate the art into our daily lives.”

Desmond Morris made this point:

Art is not to be confined to museums but is part of something much bigger in life….. we do like to surround ourselves with objects that  make our lives less drab.

Alain de Botton said what he proposes is that  We treat the whole museum much more like the gift shop.

I now say that to my teenage son and daughter whenever we’re in an attraction. Ah-ha. The shop. There’s always a little shop at the end.

Why did  I find this striking? Because of what I do, at home, in my space where I write.

I cover the wall with brochures, leaflets, postcards from art exhibitions.  Bear in mind that the room needs redecorating, which is why I’ve stuck those images directly onto the wall!

No way can I afford to display original Rembrandt, David Hockney, Verneer on the walls of my home.

But I still integrate art into my life.

I have invited art into my writing space. Each of the images I’ve stuck onto the wall, is a window. A window into another world, another artist’s imagination, another dimension.

In this way, no matter how humble, I integrate something of the artist’s spirit into my own working space.

Without art life would be very drab indeed.

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