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Posts Tagged ‘Kit’

December 2009: Sitting in the rather empty pre-revived Brixton Village in our pop-up alternative pagan Christmas shop – Gruff and Tackleton’s Winter Menagerie – my fellow artist Juliet Walker and I were talking about the future of society and how we are currently living in a golden time, with all kinds of food available, living luxuriously in warmth with shelter and security, and how really we know that this isn’t a sustainable way of life, that humans have a misplaced self-importance as a species and that we know this is a very very lucky time to be alive.

Gruff and Tackleton’s Winter MenagerieGruff and Tackleton's Winter Menagerie

 And during this conversation Dougald Hine has walked in to the shop and says “It’s so curious that you are having this conversation. Lots of people are having similar discussions – you might be interested in this pamphlet we’ve written”. So the next day Dougald delivers his little red booklet  – The Dark Mountain Manifesto – and so begins a journey with the Dark Mountain project which results in this picture being the jacket for Dark Mountain 4…

Dark Mountain 4 - Book Cover with Man on a Laptop (Early Morning)

Dark Mountain 4 – Book Cover with Man on a Laptop (Early Morning)

My work has always been to do with our relationship to the natural world around us, the natural world that we have such a blasé way of either separating ourselves from or of which we presume we are in control. Of course we have altered the world and nearly every landscape is affected by our behaviour and needs, but without us here,the rivers would still flow, plants would still grow and animals and birds would carry on in their domains, the tides and weathers would still be in control, so it’s not so hard to put our place on this planet in perspective.

And this last few hundred years since the industrial revolution is a miniscule blip in time. 200 years ago Samuel Palmer was living on the Old Kent Road in London, enjoying his boyhood in the surrounding fields and lanes of the outskirts of the city. As he grew up and industry began to blight his environment, he escaped to his rural idyll at Shoreham in Kent and created his most visionary work, most of which is now in the Ashmolean Museum in Oxford. For those of us in London, the Old Kent Road could symbolise the path of man since then with its dereliction, industrial estates and retail parks and barely a green space in sight.

When I escaped London in 2006, in the back of my mind I was searching for a Palmer-esque landscape and found it in the hills of mid-Wales on the Shropshire borders; this is where these particular Man on a Laptop pictures rose from my subconscious, and why I put this picture forward for the Dark Mountain book.

I had been working for the Campaign to Protect Rural England for 9 years, and had been asked by CPRE to send an image on a postcard for a fundraising auction they were holding. And so this little pencil drawing was born of the first Man on a Laptop as I sat one wet afternoon overlooking a marsh in Pentre’r Beirdd (in English – the village of the poets):

Homage to Samuel Palmer 2007 - pencil drawing

Homage to Samuel Palmer 2007 – pencil drawing

The figure was taken directly from Samuel Palmer’s The Valley Thick with Corn in the Ashmolean Museum. His book is turned on its side and becomes the laptop:

Samuel Palmer - The Valley Thick with Corn

Samuel Palmer – The Valley Thick with Corn

Whereas Palmer showed no sign of the modern world encroaching in his picture, I wanted to show the powers stations and wind farms in the distance. These fecund landscapes are so precious to us now, and yet a chain of pylons now threatens to blight the same valley where I made this picture – to carry the power inland from questionably efficient wind farms on the Welsh coast.

Here is the more detailed sepia drawing – using Palmer’s gum arabic and ink method – which I made on my return to London in my studio in Brixton Village:

Man on a Laptop (After Palmer) - ink drawing

Man on a Laptop (After Palmer) – ink drawing

And finally the etching which I made in 2011

Man on a Laptop (After Samuel Palmer) - etching

Man on a Laptop (After Samuel Palmer) – etching

So after this came Man on a Laptop (Early Morning)  – the image above for Dark Mountain 4 – which was the first sepia drawing I made in Palmer’s style and rather obviously uses a mushroom tree similar to his tree from his most famous picture Early Morning:

Samuel Palmer - Early Morning

Samuel Palmer – Early Morning

And instead of the small group of people (the Ancients perhaps) communing under the tree, my man on a laptop communicates to his fellows across the world from his satellite enabled laptop. Here is the etching based on the sepia drawing:

Man on a Laptop (Early Morning) - etching

Man on a Laptop (Early Morning) – etching

So we’re at that time where we are living with these beautiful ancient landscapes nestled between our towns and cities, industrial parks and sprawl, where we are part of them and separate from them; where our technology affects their very existence with our reliance on more and more energy for more and more people. What I appreciate about Dark Mountain is that the manifesto is not didactic – there are no answers to these issues; the writers are bringing forward important conversations and creating new stories about the future, a future no one can really predict. We know this way of living can’t continue exponentially, so what happens next…

http://dark-mountain.net/

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Again another month has flown by and I have neglected blogging! I don’t seem to have the time at the moment – I’m in the midst of a framing frenzy ready for my show at the Pavilion Cafe in Dulwich Park next week. It’s part of the Dulwich Festival Open House and runs until 3rd June.

This week my work is on show at Grand Designs Live at London’s Excel and I’ll be at the Grand Art Fair tomorrow on stand L141 with Skylark Galleries.

Skylark Galleries at Grand Designs Live this week

The vast show is on until Sunday at London’s Excel.

There was an interesting article about the return to popularity of neo-romanticism in The Times one Saturday last month, citing the Keith Vaughan show at Pallant House and recent retrospectives of Graham Sutherland and Prunella Clough. I thought it was a strange omission that there was no mention in the article of the remarkable exhibition by Patrick Keiller currently on at Tate Britain, where his recent film Robinson in Ruins is playing on a large screen alongside paintings by Paul Nash and Graham Sutherland, segments of film from Quatermass II and literature and art relating to landscape from a social, historical, aesthetic and economic perspectives.

The Robinson Institute at Tate Britain

From Tate’s website: Penelope Curtis, Director, Tate Britain, said: ‘Patrick Keiller has risen to the challenge of the Tate Britain Commission in an exceptional way with a new installation that enables us to look at the Tate’s collection in relation to some of the issues that Britain faces today, demonstrating how similar concerns run through time. Patrick Keiller’s sustained interest in understanding the English landscape, and what it can tell us about the origin of some of the world’s problems, strikes a perfect chord with the Tate collection.

Foxgloves juxtaposition - the plants are communicating with Robinson...

The Robinson Institute is on until October.
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Really worth seeing is the very charming Mark Hearld exhibition of children’s illustrations for “A First Book of Nature” by Nicola Davies in the Foyles Bookshop Gallery on Charing Cross Road. I went along to the Private View last Thursday where Mark was very sweetly writing our names in for us on the “This book belongs to ____” title page. Childish pleasures are often the best.

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KIT BOYD - REFUGE FROM THE CITY

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Here is a link to the blog Skylark Galleries have just posted about my joining Skylark 2.

http://www.skylarkgalleries.com/sg/

I’ve also been busy on more postcard collages and have completed over 20 now. All of them use black and white vintage postcards of British landscapes, with content inspired by what is written on the reverse, British sci-fi like Quatermass and Dr Who, a feature of the place depicted or its name and description.

Kit Boyd Homage to Quatermass

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John Craxton

Last night saw the launch of the new book on the life and work of John Craxton at Tate Britain.

Written by Ian Collins, who came to know Craxton well in the last 10 years of his life, and published by Lund Humphries, the book also features an introduction by Sir David Attenborough, who was filming a piece for next week’s Culture Show on Craxton amidst the timely new display of his paintings at Tate Britain.

As well as the Tate’s collection of Craxton’s work, there are several important paintings lent from private collectors from his early work when sharing a studio with Lucian Freud to his later Ghika influenced landscapes from Crete. There are also some very wonderful letters from Craxton, which are works of art in themselves.

I wrote my degree dissertation on Craxton and have loved his work for many years. He never did respond to my letters asking to interview him (though a few years later sent me a very sweet card with his apologies for not being able to come to a show I had on as he was in Crete). It was fascinating to find out that Craxton had forbidden anyone to write about him during his lifetime, but that he had finally agreed to Ian writing this monograph to be published to celebrate his 90th birthday. Such a shame he isn’t around to see the day, but both the book and the Tate display are highly recommended, and will hopefully bring Craxton the wider recognition his beautiful and blissful paintings deserve.

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