Friday, 9 November 2007

Heyla - so lets nitpick with words a little - we must - it's part of the parcel I'm trying to 'teach' and part of the parcel that you will give and take within, as we misunderstand each other - and as I overly explain. like two submarines down in the dark, echoes pinging, knowing their close, but in the end dense shodows slipping by - that is the nature of the dialogue.
Angie - why is the painting better upside down - why is it better?why, is it better??? You know an awful lot about language and poetry - so why is it better??? the other way up?? - I certainly think it is.
I'll tell you -: it's about Import: it's about taking responsibility for the small and the very small things in ones poesy. Ones paintings - even if the answer is the truthfull -'It was the only colour I had' THAT, is what one stands with, and stands behind - the simple truth of the thing, the occams razor of it - which is indeed what you have told.
But HOW do you create from there: and that is what i've been talking about really even within 'words with Angie 1.'
What is it that makes the difference between something and nothing. If one does not stand behind the work - in the end how can it stand -and it's not about being verbose, big headed or upfront about it. When I was touting my folio around literary and illustration agents, I only had to be one thing: smiling and well presented. I open the folio, and it speaks for me as it will - no ammount of book reading - fancy philosophy - or persuasion will do: the work has to stand on its own.
The same with painting, it will speak for you as you really already know, but perhaps are afraid of the implications, or of people seeing a naive side of you, or the poetry of it. Most people don't understand that so much is laid bare - y'have to let them have their say and let it go.
It's not so much about the painting or oneself either - it's about that word - responsibility - the responsibility to others to be direct, serious, happy, fun,clear, and to stand by ones professed love. Art, Society, The Individual, Ritual, Relationship, Nature - in all this one can say, THIS is what I do and is the greater part of me as a human being.
Not in so many words but with that understated power of the image that speaks to others and thru ones own silence and it's own silence, it will, if one works have presence. Presence can ideed meet presence - this is the wager on qualities of trancendance that Steiner talks of. All within the wider philosophical question of what are we ruddy here for anyway? As Dylan T. said ' For the wages of the secret heart' It effects people in their deeper silence - and we try and banish silence.
One walks it and talks it - but in art - as usual silence is the better part of colour. That seems a good quip to finish off a fairly rambly piece Angie - but I know you'll get most if not all of it.
Thanks for the African Writing Mag, will pass on news of it and the word n visual artists to Antonio Brito, a 2nd generation Cape Verdi Islander who lives down the Docks in Cardiff - but we've since learned to call it the Bay. He is a sculptor, photographer and perhaps will look into trying to organise some kind of exhibition at Butetown History and Arts Centre. I don't know, but sometimes I bump into him where I often catch a full English Breakfst - yea - the covered market that used to be a womens prison.
OK - I'm fuzzy......that's it....I can't edit it anymore....
Hey! a bottle of merlot is always a good idea. Much love - Dai.


Angie Phillip said...

Well, dear Dai - another piece of lyrical writing from you. How lucky I am.

Yes, I will stand behind it, and yes, it does seem to be better the other way up.

The biggest difference between the original way and the other way up is the position it gives to the person entering the picture.

In the original doodle, I was aware of tree trunks and stuff - if you look to the right of the pic you can see the ghost of a white tree rising up from its roots. Mainly though the pic is at floor level.

The other way up allows you to walk into the blue forest, not easily, but just about. So it's better like that.

You're right about standing behind what we do, even if it's a doodle. I'm getting better at this, and it has been easy with a few people, where we could share and laugh and joke with each other. But mostly it hasn't been easy. Oxford is full of artists who've been to art school and who either don't look at what you've painted when they come round, or alternatively they do and put it down. (We all laughed once though when someone who had consistently told me I was mad/ wasting my time etc, came round, saw a picture on the wall, framed, and didn't know it was mine. He thought it was by somebody famous...) Another person came round when I was attempting to paint with water colour, snatched up the painting and painted all over it. She meant well, but it didn't feel good...etc

This is not intended as a moan - it makes me smile, especially now because I'm so much tougher than I was. I'm going to paint whatever happens, no matter what peculiar (or glorious) things come out of it along the way. And no matter who says whatever - I will always listen, but if I don't think they're right, I'll disregard them.

So no, I'm not afraid. I'm delighted. With every step I'm delighted (including the ones going backwards)

I've really appreciated the painters site - I do like comments of whatever kind. It's interesting to hear how others perceive what I've painted, and to see how others draw/ paint.

You've just reminded me that the Steiner book hasn't arrived yet, although it was due on Nov 8th. Will have to contact Amazon - this is the first time anything they've sent has been late/ lost?

Thanks for passing on the African Writing mag - I think it might become a collectors item although the art doesn't show up well in it because of the paper. If you look on the website at the bottom of the page, the pics look better online.

Yes, a bottle of red never goes amiss although I've got some jobs to do before I can get to that. (Jay's doing a Bristol/ Guildford/ Birmingham trip and won't be back till tomorrow, so there's a little time left before the mad cook-ins/ drinking, talking, music sharing starts again.)

I'm going to your next post now. angie X

Angie Phillip said...

PS Don't mean to give a false impression. My account of people commenting on my pictures in Oxford was v. one sided because there were others who encouraged me tremendously e.g. Itsuki, my Japanese friend, Peter Kerrigan from Liverpool, who was starting painting himself etc etc etc

Have decided I'm not going to go and do more tasks - am going to go and laze about reading the Saturday Guardian for an hour or so.

Thanks, Dai, for your words.

Dai Harding said...

Angie - Hi - Great comments -You've got it, or are getting it more....Will hang onto the mag, if I don't catch Tony before he should be at the opening. Will continue to comment here n there, but will cover more about colour in Angie2. When I put the comments on the MySpace - I didn't know that you didn't know...uh...that I was preparing stuff for an exhibition. Thankfully it's a group show so it's not all on me, but it's a big space to fill- the Cardiff Drawing Group - a loose association of drawists - we used to meet in pubs and all kinds of places - the motto - 'We Come, We Draw, We Drink, We Go' We were asked by the Flatholm society to put on a show in town. We're hanging on Dec 8/9- opens on 10th -but the opening'do' might be on that night, depends on the diary of 'nobs' like Rhodri Morgan -their all good 'nobs'tho.
That's why the computer crash up was a swine -I had scanned in sketches and was working on them digitaly to present them as printed pieces - I lost them....duh! many times have I said to Sam ...'I'd back up that work if I were you!' so i'm playing catch up between the computer and going into the studio to do some free painting re Marconi's first signal accross water - from Lavernock to Flatholm.
Dropped in on the Nat Museum Sat gone on my way in - they were preparing for a big Diwali celebration in the big domed foyer, spent half an hour watching them decorate Lakmi and Ganesh - and doing the most intricate sand paintings on the floor....would have liked to have stayed for the music and dancing...but went and clocked the 6 of the Turners that were showing among many many more from the fabulous bequest by the Davies Sisters in the 30's - they were the ones that gave Wales the late VanGoghs,Cezanne,Monet, Manet, Renoir.... et alllll...
Heyla - cheers fr now - Dai.X