Let’s Do It, Live Art…

‘Whilst Live Art remains elusive to most mainstream commentators its influence is pervasive, and intriguingly the concept of performativity – its central tenet’ from an article by LADA (Live Art Development Agency) Director Lois Keidan that appeared in Guardian Online on 22 October 2015 when I was half way thru the two week course led by Jurgen Fritz which has totally re-aligned my thinking on what my art is, was and forever more will BE. I am so determined to do Performance Art in my future and have just come across a conversation involving a friend I made (Andrea Pagnes http://www.vest-and-page.de/ ) at the IPA fortnight with a man whose work totally blew me away when I discovered it in a book that I saw at the bookshop in the National Theatre (I’ve yet to see anything other than photos of the man), Ron Athey. Their conversation gets to the hub of the issues in PA and altho I am a novice by comparison I felt so privileged that both Vest & Page said such wonderfully constructive things to me about my efforts. I received so much encouragement to carry on. Recently I have heard it said that ‘art’ is a minority interest (but today on Anglia BBC morning news they tell me “Creative Industries are worth £76 billion per annum to the ‘Economy’- why don’t i see any o that?), well it may be a minority interest to some but it’s been my obsession now for 48 years. I still have some more to say and it will be thru PA/Live Art which is so much more demonstrative in its appreciation than the ‘art world’ [sorry art-world but I been trying to make a dent on you fer 48 years and the door won’t budge! At least when I do Live Art they clap and cheer (when I get off)]Hee Hee.

v & p latex dancers

That’s Andrea in the mask on right hand side.

Some words from Andrea Pagnes in conversation with Ron Athey,

AP‘… the richness and uniqueness that can emanate from personal experience, lived life and the consequent artistic research which arises directly from the deepest inclinations and existential urgencies of an individual.’

‘…when performance art intersects life directly and uncompromisingly, and draws on the most basic instincts, processes and transforms the deeper reasons and urgencies of Man’s presence in the world … it is revelatory: a sincere, transformative experience on human scale.’

RA says, ‘…How, in any medium, to bring something esoteric to

life, how to disturb a given, how to represent the super natural.’

AP you have … challenged conventional bourgeois mores, tastes and expectations

…by addressing viscerally emerging social hypocritical worries…’

RA performance art today… is not populist. Why not do benefits/write for funds/self produce in an amazing site-specific place? Cuz it is so much work but so worth it!

 I love the bit about ‘the richness and uniqueness that can emanate from personal experience’ and that underpinned what 3 of my course leaders said to me. Andrea saw the natural clown/fool in me in two settings which he commented on. I see from the vids on V&P website that he has done much work with clowns.http://www.vest-and-page.de/#!the-smile-at-the-top-of-the-ladder/c1orh

They all encouraged me to use my life experience in my PA, something which comes easy to me I must say as I’ve reached a point in my life where I treasure every moment I have lived and I am ready to go out there and bring my stuff to folks in a variety of settings. At IPA I used some of my Ashtanga Yoga practice in some of my pieces, particularly the Jug Dance but there were other ‘moves’ and references too. Ashtanga Yoga is a fairly vigourous form which emanated from the teachings of T. Krishnamacharya thru his pupil K. Pattabhi Jois. Another of his students B K S Iyengar popularised his Iyengar form in Britain from the 1960s. The main difference as far as I can see is that Iyengar encourages the use of aids like cushions to ease the new student into the forms that can be somewhat excrutiating for a long time for starters. I for one have massive difficulty trying to do a lotus position but no matter, you do what you can and you gradually move towards perfection.The good thing is people do yoga into their 90’s which is fortunate cos I never started til I were in ma 60’s!arnolfini outside jug dance smPhoto by Nicole Murmann (thanks!)

This is not Yoga it is Performance Art, why? cos PA is what the artis says it is, Jurgen told us that, didn’t he?

I discovered a book on yoga which I’d recommend to anyone who wants to know its benefits, it’s called, The Reluctant Yogi by Carla McKay http://www.goodreads.com/book/show/15000943-the-reluctant-yogi

I have been doing yoga once or twice a week and now I am so glad I began as it’s obvious it has so many astounding benefits.

Namaste.

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My German ‘gHosts’.

All of a sudden my life is beginning to happen. ‘It’s almost as if the stars are tangled in a ghostly spider’s web. The whole network is beginning to glow, to pulse with light, exactly as if it were alive…’ (p. 166, Tom Wolfe in Cool Aid Acid Test).

I spent 65 years ‘trying’ to ‘get there’ and suddenly somehow I arrive! Like Clementine, I’m on tea & croissants. On Friday night last when I turned on the Mercury prize I discovered a man/voice which was as big a revelation to me as hearing Van Morrison’s Astral Weeks on vinyl way back in 1968 on an old Dancette record player exactly like this one.a dancette

Benjamin Clementine was chosen as the top album (?) and what a phenomenon!  https://www.youtube.com/watch?v=a68KJWe_Tfk

Although I am not a phenomenon I did surprise a few folk at the IPA fortnight (http://www.ipapress.i-pa.org/official-news/ipa-autumn-2015-official-news/great-blog-from-pete-kennedy-about-ipa-autumn-2015/  recently but I been a long time gestating. During the time of my ‘working life’ I never ‘made it’, that’s for sure, partly cos I were too busy working for a living. But I never gave up my pursuit of the goal which was to make a mark on the consciousness of the era in which I have lived.

It was a long hard battle. I wrote, I painted, I did graphics (‘comic’, caricature and stuff) and I drew. I drew cos I could. I actually draw because of the battle I had to fight to acquire the ability to draw. It wasn’t easy cos as a 16 year old I was cack-handed (kakˈhandɪd; ‘clumsy, awkward or inept way of doing something; originally meaning left handed’, in other words I couldn’t draw for toffee but now I’m ambidextrous and am proud of that. Although I perform across a number of media it was the ability to draw which I chased hard until I achieved a certain skill which allowed me to draw the likes of Feliks Topolski, Miriam Patchen and more recently Vest & Page.

When Richard Morphet, the then Keeper of the Modern Collection at Tate, said to me in c. 1994, ‘Your work has a very German feel’, I think he was referring to the new breed from Germany like ‘upside down man’ Baselitz, yes there was a similarity but it stemmed from our all having the same influences in art history. Here’s one of my portraits (of Michael McKell actually) showing the similarity in technique. This is one of the illustrations which are reproduced beautifully in my article in JAB38 but here I am showing it in colour, it needs colour as does much of my oeuvre.

Michael McKell lino cut, black & brown

When Brad Freeman gave the go ahead on my article for the Journal of Artists Books (JAB http://www.journalofartistsbooks.org/current/) and I pondered on being asked to feature my own work, mainly in book and print but also in paint, and those who had inspired, directed and influenced it. It soon became apparent that many of them were of German origin. My father and his father’s generation had been embroiled in war with Germany yet I was inspired by so many German artists and writers. Significantly many of my influences had been on the Nazi regime’s list of ‘degenerate art’. The writer, artist and mountain walker Hermann Hesse, significantly, even stood up against the First World War. Anselm Keifer, Dieter Roth and Joseph Beuys all had to cope in their various ways with having been born in Germany and the aftermath stigma of the Third Reich.

a The scale is the result of the dance

my portrait of Anselm Kiefer

Luckily my embroilment has been with the positive creative side of the German spirit. The list is long and the work they did will give insight into my own output, about which the article will further inform you. Beneath German military imperialism lays a deeper current, German humanism as manifested in the work of writers like Hesse, Walser and Klee, each has had a profound effect on my work/output which I shall be linking to the work of the following artists showing how they have had an impact on my thinking:

Expressionists; Shmidt-Rotluf, Franz Marc (Post Card To Prince Jussuf), Kokoshka with his very literature base and liberal brush.

Dada etc; Max Ernst Collage books (La Femme 100 tetes) and his Livres d’artists,

Bauhaus; Klee, Schlemmer

Post war; Anselm Keifer, Dieter Roth and Joseph Beuys

Add to these Munch and Soutine, both of whom have a similar ‘feel’ and indeed the former certainly influenced the Expressionists. https://www.google.co.uk/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=expressionist+painters

*Kokoshka was born in Austria but was associated with German Expressionism and dada.

Wikipedia says that Kokoschka (who became involved with Performance Art) was a master of ‘innovative oil painting techniques anchored in earlier traditions’ which resonates with my lifelong observation  about ‘art’ or rather  ‘the creative process’ passing down a (transcendent) chain or  down a line/ lineage.

I see my portraits as descendent from the work of Rembrandt or El Greco, then Van Gogh and Soutine yet it never lamely mimics any of them. They set the example but I always looked to move it on. I was born into a generation which experimented with and pushed the barriers, sometimes too far, too quickly. I have always looked over my shoulder or down to see my feet standing on the shoulders of giants. I fought hard with my own inadequacies to overcome my incompetence in various media. I did find my way to doing some oil paintings which had considerable skill. All of the time I heard Max Ernst whispering in my ear that ‘painting is dead’, yet I refused to allow that to happen, I love the push of the wet gooey brush across the dry canvas surface and my attempts to make a difference. I was aware that so many great artists had (before I began) created a great legacy of amazing works which I could hardly hope to match, so I would push off in another direction. To find that direction I would look intensively into the history of ‘art’ and into the practice which was going on around me from the time of my first successful paintings and prints until today.

In the early 1970’s I was lucky to see the work of Soutine, de Kooning, Barnet Newman and Dieter Roth all of whom did what I considered to be ground-breaking work which itself was keeping to the lineage of the greats that went before them. I wanted to create new and original work which proved ever so difficult when the art market only really wanted to have the work of established masters or people who were following in their footsteps. They wouldn’t look at my work because I was not in the canon or established or I didn’t have the right track record or had not been vetted by the right colleges. And who can blame them when so many artists were being produced, choosing who to back and add to the canon must have been difficult. But I carried on making my art regardless, for 48 years now. Now it can be seen that I have created a large oeuvre which has a wide variety of differing styles and ways of working, yet another taboo in the ‘art-world’ where they like it if you concentrate on a small area then you can be boxed up and sold.

I was inspired by Ernst. I saw Roth as an oasis on my starving journey. And later I saw Beuys and Keifer doing things I had done as a result of pursuing my own star only they did them more than I ever could with my limited time and resources.

‘Beuys never made a painting on canvas; he explicitly rejected this traditional artistic production.’ P68 JB-A Colourful World, pubr. Schellmann Art, Munich 2011. Here is a difference because I did do paintings and other things onto canvas, I wouldn’t stop because Beuys did not choose this medium, but I would be able to consider many materials for use in my own work having been given permission so to do by Beuys having used them either before I did or without my knowing that he had and my later finding out he had used materials I had chosen, except before me. What Beuys, Ernst and Roth did was encourage my daring when it came to which materials could be used to make my work with. Had I stuck to the limited media which my educators and many British artists before the sixties had stuck to my output would have been severely limited. Even today many of my pieces are frowned upon by people from all walks of life because many have little idea as to the way art and its use or abuse of materials has moved for better or worse in the past 50 years.

On 23.7.14 I got a note from David Jury about our collaboration for an artists book Inside This Clay Vessel http://www.abebooks.co.uk/9780950426716/BATCH-Introduction-Thoughts-Clay-Jug-0950426717/plp :

‘I did a lot of work on Vessel page 2 (V2) today but had to make quite a few changes from yesterday’s efforts. I expect to get a printed result tomorrow. It was Braunschweig University that I visited, but they have no link to Beuys. The permanent exhibition of Beuys I mentioned is kept at a fantastic gallery in Berlin, the Hamburger Bahnhof. They have a couple of fabulous Keifer pieces too, but they are not always on display.’

I had been asking him about his visit to Braunschweig and the artists that he’d told me about with a view to me going there one day(?). In 2015 I produced a book about the making of my picture called Venus Stairs which was inspired by Schlemmer’s Bauhaus Staircase. The more I see of Schlemmer’s oeuvre the more I love it, especially the stuff he did related to performance, especially now that I am so involved with Performance Art.

Two weeks ago I recited my Beuys poem at firstsite Gallery in Colchester. The poem pokes fun at Beuys and his ways but it’s also an homage to him. When I spent 2 weeks in the company of Performance Artist Jurgen Fritz I was aware that I am still a novice in the field of Performance Art but Jurgen said encouraging things about my efforts. I have been eating, sleeping & dreaming up Performance Art pieces since then and my next blog will be about the IPA fortnight.

making the point

Here’s me reciting my Beuys poem. He had gold on his face, I couldn’t afford gold so I used black.

 

Life begins at 65, Now!

23.55hrs 14.11.15

pk table

my table at HOFS book event

I achieved a lot in my first 65 years but NOW iBEGIN. Those 65 years were just preparation for Now. I’m 18 again today, 65 years 18 days and am coming of Age. My age is no barrier. Inside I still feel like the child I was, like the youth I was, the 21 year old, the 30, 40, 50, 60 year old, actually not the 60 year old cos I were recovering from a bad condition then, (rh.ar.) nevertheless that recovery brought me to the here is now, so I feel Lucky).

When I was a child any 21 year old was ‘old’. Now am 65 any 65 year old is young(ish). And I am Lucky, Lucky is my middle name, I have survived and now am thriving.

15.11.15 I like that.

pk table jab

Yesterday I took my copy of the Journal of Artists Books (JAB) to Hadleigh Old Fire Station (HOFS) to their annual book fair where they show some lovely little books. I met Karen Apps who has promised to make an Apulhed-doll for me.

Ahed in long coat B&W stencil

Maybe summat like this, my favorite image of the Apulman! I drew it back in 1976 and it casts a nod in the direction of the little girl hero in Spirit of the Beehive (a beautiful film) who wore big boots and a long coat.Here’s one of K A’s dolls:

matildas mse

Karen Apps does beautiful books and tings like carving a baby face into soap then washing it until it ‘melts’ and eventually looks like a torso, rather like the Venus of Willendorf I told her.

soap venus

Karen Dennison was there with her lovely little ekphrastic chain picture-poetry-picture-poetry collection, blueshift, in which I done a picture. Chris Ruston couldn’t attend but she had some of her wonderful Ammonite books on display.

ammonite Chris rus

It was great re-acquainting on that rainy day.

I was lucky to visit Small Publishers Fair on 6th Nov where I re-acquainting with Jacqueline T., Nancy C., Sarah B., Mandy B., Mette A., Mike N. and also met Jan Voss an ex-student of the great artis-bokman Dieter Roth and he gave me insight into DR.

I played Nancy Campbell’s Tombola with Icelandic words and mine was isserssorpoq which translates as “‘uses the eyes’; ‘speaks with the eyes’; ‘flirts’”, but I wouldn’t know ought abArt that now would I?

Whilst in London town I bought some kryolan face paint which I had watched Carol Montealegre from South America apply beautifully during my stay at IPA. My own application of it at Firstsite last weekend was less adept and it had a life of its own which showed when I got hotter ‘dancing’ on the plate glass and it ran down my chest to ma belly button. 1stsite dusting the broomsm

dusting my broom (which fell apart)

That’s where the Performance Art began as you could also see my breath as the moisture condensed onto the surface of the cold cold glass. Nicole Murmann kindly sent about 80 photos of me doing the Jug ‘dance’ outside Arnolfini gallery in Bristol and a wonderful sight they are. I never realised so many folk witnessed my movements in the rain but here are some of her images drips and all onto ma face, thank you Nicole.

arnolfini jug sequence7

getting wet for my Performance Art outside the Arnolfini, Bristolarnolfini jug red passerby

the two images above (c) Nicole Murmann 2015

During the week JAB38 arrived in the post and I feel privileged to have an article in it. The journal is beautifully produced in B&W http://www.journalofartistsbooks.org/current/ My only reservation, and this not to criticise the wonderful production quality, is that my work often needs colour and loses a lot in B&W. I shall do an blog about jab38 soon.

1 poppy tower

The frailty of being human

The frailty of being human/ubeings*.

As I approached one of the most important (in my way of thinking) moments in my life my shoulder ached so much it jeopardized my planned ‘Performance Art’ at the re-newed  firstsite Gallery Colchester.

It pulled me up sharp. I had to really rest on Thursday and take it easier on myself Friday. I hoped the pain would subside so I could carry on my piece. This brought up the notion of frailty. Of course we live longer than a gnat or a flea or a butterfly once we survive the pang if birth but we are prone to disease, injury and mutual self-destruction (wars & other conflicts) as Gurdjeff used to call it until he too found that crashing your car did little for your survival and he did died on the second crash. We all will die anyway, crash or no crash, war or no war, it is our destiny. Tibetan thinkers don’t talk of death per se, they have the bardo of living (this here now) and the bardo of dying (what happens to us when we quit the body which has been our shell awhile). My ‘Performance Art’ is me railing against my fate, or actually, more accurately, accepting it and making a noise (even when the piece is silent which is rare) whilst I still can.

I hope you enjoy what I do. Bless you & Namaste.

*‘ubeings’ is my non gender biased word for our species.

a pete + optics

So, shouldering the task I turned up Saturday 7th November 2015 and ‘performance-artisted’ with my piece on being a cowboy called Outlaw Pete that Bruce the Boss Springstep song he wrote  especially for me (not).

19.04.2016 I had a nice little fillip today when a member of the staff at Firstsite said of my Outlaw Pete gig, ‘It was an out of body experience.’ She had not watched my whole gig. Said what she saw was very strange. I retorted, ‘That’s good cos I never want to be perceived as ‘normal’.’

Then I Explained Joseph Beuys to a Dead Woodpecker, below is Priscila Buschinelli’s photo of me Making the Point whilst holding the dead woodpecker (it flew into our conservatory and I got a friend to stuff it).

making the point

and I danced to Luke E Walker’s ambient ‘Sounds for Pete’s Clay Jug’

pete electric eyes sm

Having first led a crowd from the comfort of the foyer café to the Mosaic Area by ‘playing’ a Bolivian song on the woodpecker’s beak and calling ‘Follow me, I’m the Pied Piper’. And about 30 folk did! It was so good to see the corridor filled with curious people after once seeing a lecturer from Australia walking forlornly all lonely thru that same space to give her talk to about ten people in the gallery’s fabulous lecture theatre. WOW, the gallery has moved on since then.

To see 30 people walking 5 or 6 abreast meant so much to me. To see that wonderful gallery full of people & music & dance & Performance Art & 700+ pictures and sculptures by local folks and to be part of that was a real highlight as the place is moving from untouchable to accessible under Anthony Roberts ‘temporary’ leadership.

One woman said she thought the best part of my piece was when I laid (exhausted) on the glass on top of the mosaic and breathed out which made my breath appear on the glass. My favourite moment was when I laid down at the end and left a smudge from the make up on my hand like a stone-age artist left his mark on cave walls.

It was an honour & privilege to do my Performance Art at Firstsite’s first Performance Art day even though it meant I had to go to the Small Publisher’s Book Fair at Conway Hall on Friday and miss some Performance Art events in the Spill fest in London. It was well worth it to be part of the day which used the Mosaic Area & other parts of Firstsite to show off the beauty of the architectural features and the second event (sorry I missed the first) by Helen Stratford helen stratford (7) smactually got the crowd to touch parts of the building and learn to appreciate it more. She shewed us the leaning wall had a good intent. They don’t reach the floor so they look as if they’re floating. THEN! If you crouch under the gap tween floor and wall there’s a long series of windows! These cannot be appreciated because the public cannot get down into the field to the back of the building for legal reasons. This needs to be rectified. The building needs to be circumnavigated with access at all times the gallery is open, for many reasons. Get it sorted Colchester (Council)! (see footnote) So here are some images of folk feeling the gallery, and it felt good banging a beat on the gold cladding:

lee ashcroft refund (8) sm

Priscila Buschinelli with Stephanie Kogler watching Pete

There were 11 different Performance Artist events working their magic including a breast feeding mother dancing with her babe suckling.

kayla sinclair motherhood (7) sm

They were enjoyed by all age groups. Let me list a few of the Performance Artists who played their part in the day curated by Priscila Buschinelli, the organiser/curator & Stephanie Kogler, the Open project assistant, with ‘JV’ doing the sound tech which made the music & sound reach our ears so clearly.

Lee Ashcroft registered his disdain at having to pay to do a Performance Art event! He wanted a refund and asked what Mario would do? Bang his head on a box and coins fall out, which he did for a 20 mins ‘durational’ piece with his just reward but the action hurt so much I bet he wished he’d not complained!

lee ashcroft refund (7) sm

Phil Mill did a sound piece which was phenomenal BUT he needed something on the ‘stage’ to captivate interest, a focal point.

phil mill (1) sm

Che Kevlin did a sound piece with wonderful focal points particularly the golden mask which he made from an old card wrapping stuff sprayed gold. He created this ‘thing’ which played noise as he stroked it for his 20 minutes with a home made bow. No image cos someone had hid my camera.

Mel Donohoe did a most beautiful piece with herself dressed in a wedding dress under which a petticoat filled with white feathers lurked. She stuck dress pins in her arms from which she dangled the feathers to create ‘wings’ then she mounted some step ladders and raised her arms. A lack of wind prevented her taking off!

mel donohoe primary love (9) sm mel donohoe primary love (25) sm

The Murphy family of four dressed up as horses danced beautifully in costumes which shone & shimmered & glittered.

charlie + co (23) sm

And finally Holly Dot & Will did a totally irreverent skit on galleryistic etiquette which absolutely marmalised the way so many galleries don’t allow you to talk, laugh, touch, take photos and all the things you’d love to do.

holly dot +will (10) sm

I found the work infectious, the noises were glorious especially the sound of children laughing. As was the sound of clapter, especially when they showed appreciation for my own gyrating perspiring and making my mark on the glass.

I hope to do two more blogs this week about The book fair world and about Deb Guinane’s Performance Art at the spill fest in London on Sunday.

holly dot +will (14) sm

(footnote to Colchester council)

I’m not’asking am saying do it, because without that possibility the gallery can never function AND we (public/visitors) cannot access the car park so parking is an ISSUE and one which MUST BE PREVENTING visitors coming to the gallery. And whilst I am on about stupid things.Another thing which needs sorting is the road into Queen Street which normal cars can’t drive down from the high street. The stupidity is that they merely drive down the East Hill and turn at the Minories and go back to Queen Street and don’t say ‘We’ll put a stop to that’ NO, just re-instate the road so people can drive to the car park (Butt Lane?) then allow access to the gallery through the path at the back. Then folk can see thru the windows at the foot of the floating leaning walls! It’s not rocket science. Sort it!

.

Now I have begun.

Stop Press

I am doing a 20 minute performance art at Firstsite Gallery in Colchester on Saturday 7th November which has now been re-scheduled for 15.00 hrs that’s 3pm, kick off time for Outlaw Pete who will be getting on Jurgen Fritz’s horse! It’s part of Firstsite’s first ever day of performance art with 11 other PA people doing their bits between 12.00 to 18.00hrs. It should be great fun.

Fancy that, I began my art trajectory in 1968 with little or no idea where it would lead me.47 years of nothing doing and THEN in just one week I get 3 such big breakthroughs; IPA, JAB & OAK.

IPA.

At IPA Bristol I got accepted into the Performance Artist community. To quote Anthony Hopkins on last night’s incredible BBC play The Dresser, “The whole event has been one of the best times in my life.” (Radio Times p22, 31Oct-6Nov 2015) and I must admit I was the most senior player but by no means the most experienced. I cried a lot (along with others when they watched my stuff!) I felt strong emotions and a deep nostalgic looking back on my life which was better than any psycho- therapy.

Here’s Hopkins and Jurgen Fritz, my mentor on the IPA fortnight.

a Jurgen-Fritz-IPA Workshop-Leader-2015jurgen on the horse dinging a bell

ant hopkins smHopkins on his horse (ctsy Radio Timesglockeromswhk

if Anthony can do it Jurgen does it too!

Check out my pals Robert Hardaker and Debbie Guinnane from IPA at this week’s SPILL Festival in London http://spillfestival.com/brochure2015/ .

rob an leafs smRob Hardaker on his horse

A colleague on the IPA course, Carol Montealegre,  sent this which Kabbalah Centre International originally shared these words, love ‘em, “We create change by seeing the spark of Light rather than the Darkness in everyone with whom we interact.” ~Karen Berg. Here she is in one of my sketches doing her ting

carol smCarol reigning in her horse

JAB has just published an article I wrote for them about the influence of some German artists on my work. (We can now add Jurgen to Max, Anselm, Kurt, Dieter and all the rest now!) http://www.journalofartistsbooks.org/current/ It’s great to see my work in a prestigious journal from across the big pond. Thanks Brad for publishing me in the company of such greats.

 OAK Knoll is a pretty prestigious fine press publishing house and a little bird has told me that they are interested to stock the poems I did for my artist’s book ‘Inside This Clay Jug’ that David Jury printed as a letterpress set of pages which we collaborated in the making of in 2014. It’s wonderful to see David’s hard graft getting recognition and that more people may be able to see the work we did. Let’s celebrate with this beautiful song by Richard Hawley

http://www.bbc.co.uk/iplayer/episode/b06h3274/later-with-jools-holland-series-47-episode-4

arnolfini outside jug dance sm

Pete doing the Jug Dance outside the Arnolfini in October 2015

Looking back over my two weeks at International Performance Association (http://ipabristol.co.uk/about-ipa/ ) which were so fulfilling and formative I’d love to share my rapid sketches with you. Normally I detest it when you’re not allowed to take photos of artworks & performances but in this case I saw the merit of leaving the photo-taking to Jurgen so we could concentrate on our P A. By the way, feel free to take as many snaps as you wish of any of my PA works. Don’t feel concerned about flashing and I might just flash you too!

So here’s the sketches.

okhu smOkhu dances for the horse

sam chess yew tree smSam outwits the horse by going blindfold, in a big coat