I’m currently working on a private commission for a house in the town of Burford. The brief was to devise a work that responded to the local life/history of the town. The research turned up some interesting historical facts, ranging from links to Cromwell and the Levellers to a famous art collection but the one that really attracted me was that the town is believed to be the location that CharlesII met with his mistress Nell Gwyn and he subsequently named their first born the Duke of Burford. It is at a very early stage, but here are some preparatory sketches inspired by portraits of these historical figures.
I stumbled across this Conran site this week www.weareconran.com Where they have a nice mention of painting ‘In Company’ in their blog discussing the design of the Old Bengal Warehouse.
Saturday 24th November, Victor and I presented our collaborative works to the public. The work was made of 2 parts – A video piece projected into pigmented surface and a collage of diaristic images reflecting our dialogue with surface, trace and body during the collaboration.
For Without Walls Chisenhale Art Place throws open its doors and breaks through the walls of its iconic building, crossing spaces and joining the Dance Space, Gallery and Studios through collaborative acts, talk and debates. The day ended with a panel discussion with the artists and French Mottershead, New Art Club, Anthony Roberts (Colchester Art Centre, Escalator) & Micheal Keenan (Studio 1.1)
First day of the experimental collaboration with Victor Fung. Without an end goal in sight, we embarked on an organic series of experiments. Starting with a movement session (an enlightening experience for me, as it developed an awaress of my body and its relationship to space). In response to the session, I suggested including pigment to capture the movements and create layered imprints of the body.
August has been a very busy month for me as I have been working on my largest painting to date. ‘In Company’ was commissioned by Conran Partners and D&D London for the Old Bengal Bar in central London. The painting reflects on the history of the warehouse, a nod to its construction by the East India Company. The warehouse was immortalised in a poem by John Masefield that described it as holding ‘the wealth of the world and London’s power.’ The work depicts two officers, without prescribing a specific identity to either, I wanted to evoke a sense of the two cultures. The figures reference C18th portraiture in particular the works of Tilly Kettle. The palette of turquoise, fusia and copper was chosen to contrast the traditional pose of military figures and capture an imagined sense of history and adventure in an exotic land.
Hoxton Art Gallery installing the painting