BBC拍摄艾未未专题纪录片（BBC.Imagine.2010.Ai.Weiwei）1/4

Wondering about my Christmas card this year. Wanted something different, and thought I might put an image of Mr Robin who kept me company while on my last painting session at Wembury. He was a jolly little fellow, and not at all camera shy! Due to the inclement weather I wished I had taken a few nibbles to share with him.

The photograph below provides a good example of the dedication of the committed painter – or should that be the painter should be committed! The working title for this painting is Wembury: Summer, the catalouge number is 7DA010.

Started my colour beginnings

The weather has been against me since my return from Ronda, but today I am making progress. It’s an exciting day! This morning I have started my colour beginning for the painting I have titled Purple Calves.

For all the newbies to my work, just a couple of quick explications which will assist your understanding and appreciation of my working method and dare I say it – my thought process!

Before commencing a painting I usually have a title or thought worked out, sometimes I have a strong composition drawing where everything is worked out prior to my colour beginnings. The colour beginnings are experimental, enabling me to explore colour combinations and the visual balance of the final work. Depending upon the complexity of the final painting, there might be more than one colour beginning. When I am happy with the colour combination I transfer the colours onto canvas. That’s when the fun really starts!

Purple Calves refers to a comment made by Seth Godin, that you only notice something which is different. You would probably drive past cows that were brown, black or white; but if you noticed a purple cow in a field you may stop to take a look at this surprising sight.

So, although the excitement and anticipation of the day was the commencement of the colour beginning the actual day’s work has been frustrating. Which is how the creative process works, some days are good some not so. However, overall it’s a starting point where I can move forward.

The day started not as I planned, which sometimes happens. While walking to easel position number one I slipped on the muddy sheep track and went head over tail; the board went flying and landed face down in the red mud. Picking myself up, I scraped the mud off the paper. The joys of plein air painting! Worse was to come, today the cold snap lingered in the valley with vengeance. It was also windy, and with the chill factor it was freezing. The bellowing wind also rattled the board forward and back on the easel. The movement of the board was quicker than I could place a brush stroke which made it impossible to place colours where I wanted to delicately place them.

To sum the day up, it was not ideal painting weather. Like a true trooper I forced myself to paint. I can’t speak for all professional painters’; but for myself, I have to do something that is creative every day, if I don’t I develop withdrawal symptoms!

Photographs by Martin Baines

I have received some stunning photographs from Martin Baines. Martin kindly stopped and chatted to me while I was working at Wembury the other day. He has sent three images of me on location and a fabulous shot of the Great Mew Stone beneath a cloudy sunset. What an image. It is an image which I might be able to use in a later painting.

Martin, thank you for such a beautiful Image.

The show must go on

I felt Orange yesterday. I’m a little apprehensive about last night’s performance; well that’s what I feel like when I paint in front of an audience. I find it quite a strain even intimidating. It doesn’t come easy to me, I am self conscious, but once I get going I’m ok. The concentration removes the fear – fear or embarrassment, but why should I be embarrassed? I’m a professional of twenty years, an old timer you might say. I know my craft, I’m a good technician. But with all my experience and knowledge it doesn’t help I still get butterflies in my stomach.

I arrived at the venue early and proceeded to erect my easel, and assessed the best position for the camera. Cathy arrived not long after I had set these positions, and stripped for a early painting session.



One of the difficulties I found was the lack of light, made establishing the various shadow tones difficult. But just like an old trooper, the show when on. The artificial light did cast a wonderful yellow glow over Cathy, but unfortunately the lighting source was different in my painting. You will notice the light on the model is right to left, whereas in my painting it’s left to right.

Overall, it was a pleasant experience, and I look forward to working with Cathy again in the very near future.

Apprehensive

Well today I have been preparing the portrait of Cathy for the book launch party of remembering Robert. I sometimes think I am a little mad, committing myself to preform at a venue where other professional artists will be attending. I will try and enjoy the event, but as you can guess I am very apprehensive. I'm feeling that I could be putting too much pressure upon myself.

Here's my sketch for the painting.



I have also included a photo of me working on the painting.

Christie Coach

Visited Greenway today, trying to finish a compositional drawing. But the weather was against me. Try again Sunday. I did manage to take a photo of the christie coach. I have visited the garden 8 times and this is the first time I have seen the vechile. So a couple of images...

Book Review

Beyond the artist’s ‘sole’: the painter’s critique of remembering Robert



David Folley is a painter who is currently working on a series of paintings depicting the gardens of The National Trust.

It's always a pleasure meeting up with Jojo - the dashing theatre impresario; journalist and author (just some of his accomplishments) always inspire me. His new publication, remembering Robert: R. O. Lenkiewicz as told by his sitters, published by Plymouth University Press, [ISBN 9781841022628] is no less a feat. As I thumb through the proof, it oozes dedication and respect. Dedication with regard to his industry to locate, photograph and transcribe the views of one hundred and ten sitters is no mean achievement. His respect for a local character, considered a charlatan by some and genius by others. This could have been the Achilles heel of the publication. What is not disputed, Lenkiewicz was truly enigmatic.

There has been a plethora of Lenkiewicz tomes written since the artist's untimely death in 2002. Those of us who knew the artist may have already formed our opinions of the man and might even think we knew him. This is the Lenkiewicz phenomenon or rather his legacy. We have been exposed to his numerous media antics - a hoaxed death, the embalming of my dear friend Edward Mackenzie (who Lenkiewicz renamed Diogenes); his attempts to court controversy through various projects and bohemian lifestyle; his over-sized self 'absorption' which I now recognize as the insatiable public expectation to be either a hero or anti-hero.

This new volume of Lenkiewicz is refreshing. It is not a scholarly biography which explores the philosophical 'darkness or obsessiveness' of the artist's mind. It is an intimate paperback, a rare glimpse for the reader to acquaint themselves with the sitters' story and their relationship with Lenkiewicz and why the painting was created.

The book's success is Jojo's attention to detail and an obsession he shared with Lenkiewicz. It's not surprising Jojo approached this project with the same methodology as Lenkiewicz. His forward replicates Lenkiewiz's retrospective at Plymouth Museum and Art Gallery in 1997. The guest of honour was not an academic or a celebrity but a local vagrant who Lenkiewicz believed would provide shock value. The format of the volume is not chronological or thematic, it has been compiled to surprise and enable the reader to travel on their own 'journey of discovery'.

For me, the publication is a missed opportunity and its weakness, not to expand the readers' experience. Jojo has not probed or analyzed the sitters' replies. However, the four strengths which are obvious within Jojo's book are: the historical and social importance of where the painting is displayed, the rare opportunity to see the painting in the home of the sitter and the memento-mori not only for the sitters but also for the reader. Four of the sitters have died since the death of Lenkiewicz.

In a nutshell, the publication provides a valuable record of the relationship between sitter and their portrait. For individuals who have not modeled for an artist, the sitters' reminiscences will come as a surprise. Predominantly anecdotal, Jojo has crafted a sensitive book where Lenkiewicz's spirit can continue to beat in the hearts of his sitters'. They recall their first hand experiences in a compelling, personal way. Whether the book sheds further light on Lenkiewicz's 'sole' (a reference to the cover), is questionable.

Meeting Jojo

Just finished my review of Jojo’s new book remembering Robert: R. O. Lenkiewicz as told by his sitters, pubished by Plymouth University Press, [ISBN 9781841022628]. Hope its helpful, DF



David Folley and Jojo discussing the proof of remembering Robert.

Well it’s a mauve day!

A productive day at Wembury. Having completed my compositional sketch for Wembury: Mill and Church – Cat. No. 7D900C (easel location 2); the next stage will be to assess where the figures should be placed. This is not as easy as it sounds, so I’m expecting arduous sessions ahead. In the meantime a photo of me working today. But before that a brief reply to the various individuals’ who asked a number of thought provoking questions; I will answer these when I have obtained and uploaded a good image of this stage of the work which will assist and clarify my reply.

Frustrating Afternoon

Have just returned to England from Northern Cyprus and as the weather is fine I decided to continue my new composition design of the Mill at Wembury. Arriving at Wembury car park my son Jakk who was master of the camera today requested we consume our pasty lunch prior to starting work. This we did while watching the Nato maneuvers of some large Royal Navy Ships (I have limited interest in ships, cars and aeroplanes – my only interest is that they are safe for me to travel on. However, I do know they were ships because a retired navy friend once told me, “ships carry boats”).

After lunch we set up the easel and camera tripod. Unfortunately the wind blew with such force my poor easel collapsed twice, even with the extra five litres ballast of mineral water. On the first occasion the drawing landed into a small rock pool which damaged the paper; hopefully it will dry out, but at the moment it’s quite warped.

The second event caused me to reluctantly abandon the days session. We did manage to take a few images of me working in extreme weather conditions.

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Completed Drawing

I have been busy continuing my garden series and taking advantage of the fine summer weather. My industry has enabled me to complete my most recent compositional drawing: 7DA040 Wembury, Mill Meadow. The compositional drawing has taken much more time than I estimated and due to the complicated vegetation design; but my industry has provided me with a solid foundation and will assist me to advance to my 'CCB' Compositional Colour Beginnings.

It is not often I am accompanied by a fellow painter, usually my only painting companion is ‘mistress of the camera’, aka my beloved Frances. However, today David Muddyman joined me for a painting session. So the following images are from his camera.





And finally a photo of a working David Muddyman!

My good friend and fellow artist Gordon Frickers is staying with me for a couple of weeks before he returns to his studio in France. It is always good to have the lad around, it provides us with an opportunity to discuss our new work and plan our future developments for life and careers.

Gordon has kindly offered to write my biography for my present exhibition. I have uploaded his section on Blastos-Bolbos.



This maturation in Folley’s painting can be attributed to his interest in philosophical concepts. As a result of studies at Middlesex University his work has shifted from Figurative to a Sensibilia-Abstraction.

Folley makes the distinction between Sensibilia and Abstraction by acknowledging the latter’s ‘vagueness of generalities’; and the former as a view of the world as it is for the individual – those things which each one of us sense, as immediate objects of our sense-perception. Folley’s Sensibilia-Abstraction questions the spectators’ concept of Truth by removing their preconscious learned narrative logic; in doing so – the spectator’s assurance and reliance upon nostalgia becomes distorted.

Folley is exhibiting three works reflecting from his new series, Blastos-Bolbos: ‘A Purple Anaesthetist’. Blastos-Bolbos (Blastos is Greek for germ and Bolbos means onion) was chosen by the painter to describe this series because after germination an onion develops multiple layers. This “discovery of knowing” continues Folley’s exploration into the symbiotic relationships between: the work, the painter and the viewers’ responses.

Gordon Frickers May 2010

My eight rules when staging exhibitions with Other Artists!

Our group has only seven cordial members. One would assume with limited wall space common sense would dictate that submitting a life-time of creative artwork would not go down well with the other members. I trust by sharing my experience it might be of help to others contemplating a similar event:

1) Someone has to have overall responsibility for choosing and placing the work; if possible there should be a couple of other members to give support.

2) Control, guidance and restraint to reduce a free for all.

3) Two labels to be attached to the art work which are long enough to hang below the bottom of the canvas or frame. One for cataloging and the other to remind you which work is which!

4) Limit the number of works members can submit.

5) Keep the distance between works as uniform and constant as possible, of course there are exceptions to this rule with multiple works etc. In my opinion an exhibition should appear professional at all times.

6) Advertising and exhibition literature should be consistent with the group’s branding.

7) Don’t take the other Artists too seriously, every one has an opinion, you can’t please every one!

8) Enjoy the event.

This is not an exhaustive list, but being aware of these points might save time and hassle.

Please feel free to comment and Best wishes with your exhibition.

Compelling new work

I have always believed that it is a question of each individual artist’s conscience to produce works of the highest integrity, which by their very definition are compelling and move the boundaries of art ever forward. But living at a time when we have visual overload I am questioning my stance on this statement. Should an artist surrender to the ‘banality of populism’ to survive, or fight against the quick-silver flimflam of accepted perception the art establishment and public have of an artist?


I have uploaded a new work from my Fragment series, the paint is still wet and I am every excited about the development of this project. However, and this is not sour grapes on my part; but whoever has seen the art work, existing gallery representatives and collectors I deal with have all dismissed the series. At the time of writing, 10 independent minded (perhaps that was the wrong phase!) individuals have expressed a negative opinion.


I accept my Fragment series is a departure of my traditional painting style. But as a means to the development of my knowledge and craft the Fragment series has enabled me to reflect upon the different strands of the older modern traditions found in 20th century art. The exercise has matured my thoughts and I can see the new figurative style has enabled me to strengthen my compositions.


Has any other artist experienced this, or have they found a creative way of moving forward to achieve their artistic goal? For myself I feel in good company, after all at the time of Van Gogh, the Nemos’ of the world didn’t like his work either!

Random thoughts of a Painter

I have been having somewhat a difficult time at present. Whether it’s the creative process or just life I have been unable to fathom out. I try to be up beat, but life has a way that knocks one back – take a step forward and two steps back; that’s the way it seems to me! As an example, yesterday I split coffee over my laptop. Naturally, I am a little vexed with myself. But, there is a silver lining; the lap top appears to be working smoothly, and the data I have not backed-up for the last month has now been saved. As a non-computer person I am surprise how much I have come to depend upon my laptop, and found yesterdays events quite distressing. But today, putting things into perspective the world seems a better place.

Due to this event, I find myself questioning my very existence. I believe it’s the event of last night, I don’t think it’s the fact I’m 50 later this year (oh where have the years gone and why haven’t I achieved some of my artistic ambitions!). So I seem to be in a reflective mood this morning. I shall consider these thoughts while working on my two present projects: The concept of ?Fragmentation; and Oss, Oss wee Oss (OOWO), which explores the image of duality and a biographical reference that includes a reference to my new girlfriend F.S. Both projects I will explain in greater detail later as I develop the works. For now, its back to the studio for contemplation – my professor once said “painting is 90% looking and thing and 10% doing”.

A quick thought...

It's official, I have a new girlfriend. So my present work is a little more autobiographical than normal. I am working on the Padstow Hobby Oss series. I am interested in the concept of duality and the difficulties this presents within a composition. Very apt images of a girl teasing a horse!