On Our BeaDazzle Gallery Wall and in the Lounge Gallery for May/June/July
5/9/2022 to 7/15/2022
There are no lofty or political undertones to my work. I am completely divorced from anxiety when creating art, a Zen space that I cherish for its lineage of collective memory from past centuries of art making to my present life, a simple joy of lovely things, architecture, my house, spaces, textures and patterns flowers hints of the land and sea. The work does tell stories. Even if only hints are given to the viewer, who registers shapes and relationships to their own vantage point of the living experience.
Years of work provide batches of themes and attitudes. Eventually they begin to look cohesive. Last year patches and puddles of ink and water, tactfully placed on the paper gave me a composition that I could use as a framework. Observing the nuances of paint layers that developed showed me shapes that gave hints of things. One may be a vase, an apple, a flower or a foreign natural looking object that I could coax into something. A mini tornado? A Wasp’s nest?
In watercolor sometimes, more work can lead to the death of a fresh painting, and I often go to that brink. At that point, I reach for collage that can bring something back to life. If used out of context or tongue in cheek it can provide the needed unexpected results. When painting in watercolor I often still return to pure medium painting into clearly defined abstract areas containing representational elements. Pictures within pictures.
I do exercise some measure of preconception or eidetic* imagery, a flash of what the image should be like, something to push me off the diving board. Even though I have a severe and solid grounding from Witwatersrand University in Johannesburg where I learned all of the basics, I keep that notion deliberately brief because I prefer to work through a painting with a fresh set of solutions every time. Sometimes the works that are on the brink of disaster work out to the best and push my boundaries a little further.
I enjoy using all measure of brushes, Asian, Western watercolor and awful old bristly brushes that can be great for applying miskit or mask in an unregulated mark. Using an ink pen, I encourage the reciprocity between the information before me and the fluidity of my own body’s arcs: hand, elbow, shoulder, and the more gestural the better. If I clutch down on the pen it becomes an act of writing and not drawing. That has its value sometimes too.
On board with acrylics I tend to excavate and reapply paint with joyous abandon, and then try to discover what the story is, again a backwards and forwards approach. Success is mystifying but the journey is worth the risk, and when the result reveals itself, it is telling.
My pottery has been informed by my art. Sometimes I draw free hand on the bisque fired clay but the shapes are utilitarian and graceful Shapes are often decorated with patterned transfers and have an earthy integrity.
One thing is certain, my work is ever evolving and changing, but circling back to my origins is also the most likely result I witness. “Despite ones best intentions, art is an expression one oneself.” Wolf Kahn.
Locksley Hall, 115 Creek Road, Glen Mills, PA 19342
email@example.com cell 610 580 7486
1969 to 1972 BA Fine Art Honors, Cum Laude, University of Witwatersrand, Johannesburg’ South Africa
1977 to 1989 Fine art and painting teacher at Main Line Art Center, Wayne Art Center, Wallingford Art Center Wallingford PA, and Art in Progress, an art school begun by me in 1982. Board member at Community arts Center (formerly Wallingford Arts Center for six years.)
*1983-1987 Conducting landscape painting trips to St Ives, Cornwall, England.
1989 Began a career as an Art Consultant with Axis Fine Art Services.
1995 Started MKM Fine Art, Inc. and art acquisitions and management services firm. MkM Fine Art was one of the best and most reputable in the Philadelphia area with relationships forged through hard work, reliability, and creative vision. Much of our work was done in Corporate and Health Care, with clients in the NE USA and Mid-Atlantic States.
2014 to 2018 Slowly retired from Corporate and Healthcare art consulting to resume painting full time.
I now own a kiln and have a studio in my old Victorian House.
Represented by Gallery on Park in Swarthmore and Creamery Cottage in Glen Mills.
*These dates may be slightly inaccurate.