Now I’d like to reveal my new ‘book-box’ with various parts of the Inside This Clay Jug project on display in it.
[I do not expect it to sell in fact on the contrary it is my own personal gallery space in which I can house an important show about a vital phase in my output.
I have had many ‘shows’ of my output since leaving college in Exeter in July 1973. The leaving of college, like the leaving of school is an important juncture. Leaving school was for me as being born (again) when I dropped the manacles which had gripped me since first entering school aged 4.
The first hint or ‘show’ of my output was my buk Apul-One which said (to my school) “You no longer manacle me, I’m free as can be. I no longer had to acquiesce to the norm”, I could do it my way and I did, for example with the personalised phonetic (fonetic) spellins. As it happened in 1975 I couldn’t exhibit (in my ‘gallery’, which Apul-One was) the beautiful use of colour which my ‘art’ employed as that was too costly but I was able to use my B&W works. Those colours are now available in my ‘Shrewd Idiot Series’ of books recently self-published (2017).
The Inside This Clay Jug project is vastly different to the content of Apul-One & the ‘Shrewd Idiot Series’ which both appear to reflect my own journey through the early 1970s. Inside This Clay Jug exhibits and reflects upon my acquisition of knowledge in, what may be best referred to as, the realm of spiritual contemplation, my thoughts on the deeper aspects of my existence and my investigations into ideas and concepts a little deeper than the surface level at which most of us conduct our daily journey.]
The book-box is circa A2 in size & about 25mm in depth.
There’s a copy of each of the books; G BATCH, Inside This Great Pot, Inside This Earthen Vessel (PK version), Inside This Earthen Vessel (DJ letterpress version) and the full set of 6 etchings from the G Batch master drawings plus the original poems printed on Japanese paper AND the tiny version of DJ’s ISEV.
Here you can see the Jung & the Silesi etchings which are printed in sepia colour and have a tilted diamond shape.
here is the PK version of ISEV resting on the DJ one, with a colour photo of one of his chases.
a closer view of David’s chase for the Silesi letterpress print
the other photo (we only recorded two) of the Beuys’ print chase. All six chases were dissed on completion of the set of prints.
All wrapped in ribbon with DJ’s folder full of letterpress prints at the back
Possibly most beautiful of all?
A simulation of my two Leaf Books inside the book-box!
This juxtaposition may never occur, or I may make a book-box specifically to hold them together altho’ of course they must be sold separately because they are very expensive.
The 2 leaf books each contain six etchings from the G BATCH master series along with the six early poems about the ‘wise men*’ on Japanese paper.
This is only part one of a blArt about my new Inside This Earthen Book-BoxITEB
Part 2 will follow in a few days with more images of the Book-Box
A while ago I wrote a series of poems to be printed as scrolls which I placed inside a big pot.
I called the project Inside This Clay Jug after a poem Robert Bly had recited after the original translation by Rabindranath Tagore of a 14th century poem by Kabir. I first heard the recital on the late a Jackie Leven cd. I loved it and was lucky to have known Jackie when he used another pen name, John St Fields. I loved his rendition of Inside This Clay Jug for years and was fortunate to get together with Jackie shortly before he died. The project was as much in memorium to him as it was a celebration of knowledge passed down in ancient times by communities who hid their precious writings in pots in caves or underground like the Nag Hamadi library and Buddhist pots found in Kandahar.
Recently I bound a copy of David Jury’s beautiful letterpress version of my poems in pots into a codex book.
Letterpress print version bound as a codex book
I only made two copies so far, one for me and one for DJ. And I have added a lovely little purple tassle to mine and sent it up to an international competition to see if they like it.
Whilst making the book I made a couple of extra cover and thought one day I’d make a book-box with one of em and put into it every incarnation of my poems for the Clay Jug Project about which I also published a book called G BATCH.
Now I know G BATCH is not the best name for the book, it’d be better named something like Inside This Clay Jug an Introduction. I preferred at the time to take letters from the names of the six men that my poems are about and as a group is also a batch called it a batch, G BATCH. The book is handmade in an edition of 50. It explains my ideas behind the project.
It also has the master drawing that I used for the etchings of the six men.
I re-wrote the poems and published about 3 versions of them, Inside This Earthen Vessel (ISEV) was one version wherein I did the layout of the poems in the shape of pots and when DJ saw them he suggested we collaborate on the letterpress version which he would print. Those prints of the poems are now quite famous. Back in 2014 The Poetry Library at Southbank exhibited their copy in the Open Show of that year. They were recently (June 2017) exhibited at Bath Spa uni as part of their symposium on Concrete Poetry.
I did do a ‘concrete poem’ with the names of the G BATCH, actually more a log poem:
Nowadays the bark is dropping off so I am going to recut the names a little deeper into the trunks to add to the poem’s lifespan along with some clarity.
Here’s some images of the Tenzin Gyatso (Dalai Lama) one when it was first cut.
Well it were a toss up between that and The Wise Fool. Shrewd- astute, penetrating, artful and crafty- (I tink) shrewd entails ‘wise’ altho that in fact in the definition relates to money… The Shrewd Idiot aka Pete Kennedy is (or was) that- an Idiot in a lot of his habits BUT he always knew there was a wise part in the mix because he had conversed with it on occasion; in lucid moments. “From early on I knew that ‘life’ was a serious game but I soon learned to make light of it. I frequently played the fool. Apart from rock music and sport my great loves in life have been art & humour [altho’ this tome is not (deliberately) funny], my great heroes include Groucho & Harpo Marx, Spike Milligan & Tommy Cooper.”
Another title could have been A Lucid Tosser or Lucid Idjet…L I, or Li bringing in a zen feel to it.
There’s also another possibility in David Pierce’s book, Reading Joyce where on p. 316 he says, “[the surname] Glue is in fact from Old English gleaw, meaning wise or prudent.” So The Gleaw Idiot? Maybe not. Altho’ I was born in Glesgaw…The Glesgaw Idjet… The Glasgae Idiot?
Anyway all this is too late, the books are named.
So the ‘hero’ of the buk reveals his self, warts & all. There’s big honesty, an honesty which may seem unpalatable to some but it’s part of his idiotic nature- he cannot tell a lie or be clever for the sake of deceiving.
Gail Cher wrote in ‘One Continuous Mistake’, “Fleeting thoughts … quietly shock our being. You think one, sometimes you don’t even realise it’s there…it has been…your mind contains the memory…your consciousness is no longer the same….you keep track of your philosophical thoughts, your spiritual thoughts, your pecuniary thoughts, thoughts of your loved ones…”.) Gail Cher might have written those words for the doltie/dorky hero which is my because those are the kinda thoughts he notes down throughout the book(s) named after him!
Apul-One (original cover A5)
My old Burnley secondary school friend John Walton told me after he had read in 1976, ‘Pete, you write the thoughts we all have and think we’ll write them down but never do…’ Writing was his trade and I took that as a gentle compliment.
The Shrewd Idiot (cover A4 version) Portrait of the Idiot As A Young Man
So it is not a normal book. It’s written in the first person and is purportedly about the first four years of my life after I left school nearly 19 years old.
It’s not an autobiography because it doesn’t outline my successes in life, rather the opposite, it settles on my many doubts and failings (like frequent self-abuse). It features my anguishes rather than my triumphs, not the stuff of autobios. In my life I had many and regular successes and achievements, most of which don’t make it into this rather voluminous moan-ologue. But the fleeting moments do and I believe it’s those fleeting moments that mould the person, that’s why they’re featured. It’s the challenges, the overcoming the doubts and deficiencies that maketh (wo)man. I hope I’m correct cos if am not then this is 300 pages of unadulterated drivel, but don’t worry, be happy that I wouldn’t do that to you. Over 40 years since I first set my pen to paper writing this tome long-hand from the journals I kept tween 1969-73 and after spending months doing final edits and the layout for the book before I published it I am sure there is a story there, in fact several stories within the main momentum which follows me from a green horny youth through days of satisfaction and later of loss. The book shows many relationships beginning and moving on and some ending (prematurely) with some continuing way past the book’s end.
BUT, apart from the overt stories, there’s the covert revelations. It reveals my initiations, realisations, and most of all my growth from a punchy teenager to a more reflective early 20 year old who has no idea what his future holds but knows he’s at least prepared with his accumulated skills and learnings to face most of what life normally throws at a person and from experience knows that he can cope with some of the extraordinary things that crop up now & then.
The ‘punchy teenager’ taming was begun by the first of 3 women (The Three Graces) who had a major impact on him in those 4 years. Her name in the book was Bluebell, in real life it was Cath. She was the first woman I ‘went out with’ after I left school and in effect she saved my life. She gave me hope for the future and I still received her Christmas cards until a year or two ago… they seem to have petered out now despite my writing to her Australian address to tell her I’d like to send her a copy of the SI(A4). The second grace, Rose, real life- Jane, drifted rapidly then slowly out of my life but she taught me to value patience, although it’s taken 40 years for the lesson to kick my ass. The third grace, Camellia, whose real name I cannot reveal cos she’ll bat me, is still teaching me how to behave. She’s still got a lot of work to do. So as a result of those 3 gracious ladies I became less punchy, despite for a while taking on karate (I’m yellow!), I now learn Tai Chi with Master Ch’n Lay Seng, and the last thing you do in Tai Chi is get punchy!
The other revelation is of course the art that I produced. Much of my best work from 1968-73 is displayed in the book(s). One of my greatest thrills is to have found an outlet for the imagery which otherwise would have remained in my drawer until after my death* when it’d be taken out and revealed as the work of a wonderful undiscovered talent and then sold for millions of dollars, yen, euros but not £s cos an artist is never really recognised in his home town, are they? But I no longer care that for the past 40 odd years I was unable to find a market for the works I turned out with never ending enthusiasm. Most all of them end up in my big plans-chest or a hut in ma garden and remain unseen, so the SI buks are, for me, a comprehensive solo exhibition of those works. In the A4 version you get 25 images on translucent paper (tracing paper for want of a better word) which gives what I refer to as ‘palimpsest’ views through the parts of the paper which contain no image.
*Spike Milligan said, “I’m not afraid of dying, I just don’t want to be there when it happens”.
buks have been my vindication and I am so proud to present them to the world. The A4 version of The Shrewd Idiot can be bought (£45 rrp) at the Whitechapel Gallery bookshop in London. The British Library will receive one copy but the other national libraries won’t as I only made 50 copies and at that price I cannot afford to give em away.
I have now firmed up the date with Antony Roberts at Colchester Arts Centre to do a ‘launch cum celebration’ event around books. The date is Sunday afternoon at 2pm on 5th November 2017, just 9 days after ma 67th boithday. So there should be cakes and drinks and maybe me doing a couple of the performance art pieces (paps) about the books, inc The Three Graces). I must say, I’ve waited almost 40 years to do something there, I first approached the centre in c.1976 shortly after its formation, the then Principal of Colchester Art College (Atkinson?) and Tim Holden interviewed me, the former saying he thought was good but the rest o ma work didn’t strike a chord with him. They laughed at me when I said I wanted to do a show there, they’re not laughing now!
Congratulations to Sally Shaw and all at Firstsite for getting that BIG arts council grant. The gallery has moved a long way since its near demise a couple of years ago.
It was great to see Firstsite humming with at least 3 simultaneous activities last Friday night when I was lucky to be invited once again by Jim Pey at Educaid to read one of my pieces. I did a 2017 poym inspired by my 1972 set of screenprints ‘Appleheadman Sees’ which I shall read again on the 5th of November with a little brushing up. In fact I’d love to do my PA version of the song called ‘Brush’ by Colin Lloyd Tucker too too.
Everyting cums to hee hee what waits!
The activities of Pete Kennedy, Performance Artist Bloke, Book Creator & retired artist.