Visit 2 da the New Tate

Photo taken of some idiot dreamer as part of a Uniqlo gig at opening days at Switch

Wa doo eye kerno? (That’s ‘What Do I Know?’ in real Englitsch. Not much! I’ve only been making ‘art’ since ’68 now, 48 years later am 65, 66 on 27 Oct!. So I tink I knows a bit about ‘art’.

I visited the Switch (aka New Tate build) twice this week. I LOVE IT!

I got an overwhelmingly positive feel in the place, despite LONG queues, big crowds and the obvious commercial success of art (something which fro 48 years eluded me work & still does, I’m not represented in the Tate butti don’t mind cos am represented in this blArt…I’m in the Tart!

I could already write a book about the value of the New Tate (Tate Modern & Switch). It employs thousands of people, some on a wage, some for free, some just ogle at Great Tate.

I first went to Tate in 1967 and it were a massive part of my Art Education. Now I am working on 3 books about my life & work. Two are already written; The Shrewd Idiot and Genie Ass. Its taking time to lay them out, so you have to be patient cos they’re on the way.

Enter a caption

a little Bourgeois sculpture from the Tate collection .

a portrait I done o LB earlier, holding a Tate Member with her best friend on her shoulder

“Louise Bourgeois is the Godhesse!”

https://www.bing.com/images/search?q=louise+boureoise&id=E697774EB2F4FA54F3BFB9C7D852C3EA0677DBFD&FORM=IQFRBA

I thought that as I looked thru the new room dedicated to work she did which Tate now owns! https://www.google.co.uk/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=Louise+Bourgeoise

another gem

I’m sad to say Andrew Marr on the BBC2 kept harping on about the £260 million it cost.

http://www.bbc.co.uk/iplayer/episode/b07hk12j/new-tate-modern-switched-on?suggid=b07hk12j

This is getting to be the Bourgeoise show (they won’t let you snap Mona Hatoum!)

Marr’s underlying take on it was poor but Waldemar Janacek’s was even worse, but I have about as much respect for his views as I do the woman who got up and walked from mher bed when Saint Saatchi told her to get up & walk.

This woman who got out of her bed to talk to Marr has been involved in ‘art’ for less time than me (but should be more articulate cos she is paid millions to practice) said a work by Louise Bourgeois is a ‘mindfuck’.

I photo’d LB trying to rid the rats from her bed, but to no avail, they stole it!

I think anyone with a ounce of intelligence may see what she was getting at but I’d have thought she could have been more descriptive and constructive about that great artist who actually tolerated her more than I do even though Bedgirl stole many of her ideas and methods.

I took this photo of an angel flying over Gatesheed in 2015 when I went up to the Book Fair at BALTIC

Anthony Gormley talked well about a work he did with 5 eyes on it (it’s very good).  He got lucky back in 1981 when Serota at the Whitechapel consented to show his early sculptures. I never had that big a break, yet, well accept it I never will, ‘Never say never’, I just did! Compare my Billy No Breaks to Gormley’s big bits breaking waves near Liverpool, albeit he’s done some good stuff, his angel still flies north  and I saw his 2003 show at Baltic.

http://balticplus.uk/antony-gormley-domain-field-installation-shot-2-c10436/

I still keep making my art, this blArt is pArt of it too.

one last bourgeoise

Mona Hatoum’s show is wonderful too.

I posed for these photos in her ‘Corps Etranger 1994’

good looking pensioner gets inside Mona

I love her utilizing mundane, nay ubiquitous, materials; weaving it into her clever metaphors. I love her glass grenades, her toy soldiers arranged as an infinite loop. Worth seeing. As is the work called (or by) Tarek Atoui in the basement at Switch.

It’s several musicians make sound out of instruments designed to emit sound electronically (or sommat like that!). It’s part of the Tate Live Art stuff. One day I may be able to do ma ting there too cos I am a live artisbloke as you know.

Actually over the years I have performed at Tate in many ways. I first entered as a raw-would-be-artibloke in the 1960s. In the 70s I frequented it as I became a teacher. 80s I took my own audiences in the shape of coach trips from my night classes and i drew Paulozzi. 90s I took my own childers one of whom is now a curator and i drew Miriam Patchen and then Bruce that Scottish fella. Noughties I stood in a massive derelic  buildin and thought ‘they’ll never make it work, then on opening day I saw a surge of folks walking like Pina Bausch dancers into the Turbine Hall. In the 2010s I couldn’t afford the member’s pass until my state pension kicked in this year and I re-joined. Glad that I did, a good year to do it.

‘ere’s a bonus poem:

The Beauty of making my art today

 

The Beauty of making my art

After 50 years of trying to make it

I finally made it, good.

 

How do I do it now?

It’s easy after all these tears

 

I cried many many years

As they ignored me, all ways

Now I come into my own

Do it my own way I do too.

 

 

Finally, here’s a sign i saw on a London Bus as I travelled to the Tate

 

Let’s dance

Let’s dance with Pina’s lot.

Thanks to Jurgen Fritz for the image de moi in the header! And for the 2,000+ photos he took of all us PA folk at IPA in  the earth spirit centre (http://www.earthspirit-centre.co.uk/) “Just five miles from Glastonbury, on the edge of Compton Dundon village in Somerset, EarthSpirit lies within the ‘temenos’ (sacred enclosure) of Avalon.”

I watched this Wim Wenders’ tribute about Pina Bausch, WOW! It’s one of the best things I have ever seen!

http://www.bbc.co.uk/iplayer/episode/b06ryjfl/pina-legend-of-dance

I am sure that some of my friends who attended the IPA Bristol fortnight in October must have seen it. There are bits in it that I am sure influenced some movements I saw there. There’s a lovely bit where a woman is walking with a tree on her back which is reminiscent of McLennan’s work. It’s just an incredible programme about somebody who must have been an inspirational leader.

They’re coming to Sadler’s Wells in February. I never go there but this is one time I shall be there.

http://www.sadlerswells.com/whats-on/2016/tanztheater-wuppertal-pina-bausch-como-el-musguito-en-la-piedra/

os I am never going to match all them greats. But, you know me, I can’t stop trying!

Cowboy Pete at BALTIC ctsy of Gary Malkin

Here is a link to the ‘talk’ I did in July this year at BALTIC in which I do a couple of ‘dances’. I enter dressed as a cowboy and do the first gallery private view ‘dance’ to ‘Outlaw Pete’ which must have been written for me cos it tells a tale so similar to my dragging up in Glasgow. Bruce has just changed the names of places for legal reasons. Then at about 10 mins in for 3 minutes I do my now famous (at least on our street) ‘Killer’s Are We Humans Or Are We Dancers?’ dance:
https://player.vimeo.com/video/133544106 

This is the dance with which I also introduced myself at IPA Bristol. It was great there cos they asked me to repeat it in the evening relaxed session and they all joined in copying my moves which are a bit like me in these drawings.

I next did ma Outlaw Pete (Jurgen’s Hoss) Dance at firstsite in November. A friend filmed it on her iphone but it’s in two parts make 30MB and I need to edit them together and upload them in a smaller form, so you’ll have to wait, cos I don’t yet have the skills to do them tings.

What am doing now in ma blog and ma PA is the culmination of my almost 50 years adult study in ‘art’. a study which has many stages; oils, prints, books, sculptures in many differing idioms. When folk clap my PA I realise that I made ‘art’ for reaction. I love to glean your reaction, your joy, your love, your muse, your amuse…

I think I made art to get noticed. Have you noticed…me?

B..Bam B..BAM!

VIP please note – I don’t mean the ‘B..B..BAM’ logo to overtake the word ‘artists book’, I think it’d be a good rallying call, like an invigorating ‘quality’ hallmark symbol to use on any publicity material. The ‘pop-art’ similarity is about that stimulating bounce that comes with the onomatopoeia. Pete

I do not wish to ruffle any feathers but I feel the term ‘Artist’s Books’ is a bit misleading. I believe that to attract a wider spectrum of people in to Artists’ Books markets with a view to buy the books  we make, rather than merely view them, there is a need for a more catchy symbol on publicity material, a signifier which is less bewildering, more informative and more inviting, more exciting, maybe:

I believe the term ‘Artist’s books’ can be misunderstood by anyone who is unaware of the beauty that lies within (the field). I’m not being silly nor am I joking. Some people I know who happen to be very bright-intelligent and who get about a bit have been fascinated to see what ‘artist’s books’ are composed of/can be. But, just think of the first timer who comes across a poster which talks about “An Artists’ Book” event. Those uninitiated might be put off, believing that this event is only for ‘artists’ and they are not that, it can be intimidating. I believe after my recent participation at English Artists’ Books Markets in Oxford, Bristol and now Gateshead there is a lot of (simple) work to be done to increase members of the public willing & eager to put their feet over the threshold into the ‘market-place’.

I am going to suggest maybe the slant be changed from ‘Artists Books’ to something like, ‘Books by Artist Makers’ B..BAM! Let’s think about it? Let’s talk about it? Let me know if you think it’s a good idea. We need something to get folks over the threshold, especially in England where the pinch of the recession still bites the majority and is going to worsen in the next five years as government squeeze the less well off. Books by Artist Makers take a lot of thought and a whole lot of making. They are works of art in themselves which often take longer to create than a painting. Indeed some have several ‘prints’ in as part of their beauty. People may buy a framed print for say £50 (I know that’s cheap, but it’s just a figure to play with, to try to make a point), but would the same folks buy Books by Artist Makers with say 3-6 prints in for £50?

Here’s a quickly sketched onomatopoeia for Books by Artist Makers 

Cowboy Pete, Bukman Artist-Maker

(Hooray, total ‘visits’ to my blog since it began tipped over the 7500 mark today).

Below I have added some comments which came in since I posted this blog about artists books (artisbuks) and the gap between their beauty and the public’s not ‘getting’ what they are. Please add your thoughts if you have any which say things not already said by those who added comments.

seems like we are touching a chord, thanks to yez. Here’s some replies already:

“I think that’s a great idea Pete. To me ‘Artist’s Books’ conjures up an image of books containing illustrations of their artwork or writing, with brief notes or explanations. As opposed to a complete work that you would admire as much as a photograph or painting hanging on a wall. I would never expect the book to be hand-made.” (Maxine, a ‘normal’ non-artist person.)

“Pete, I think you’re right a LOT of people do not understand Artist made books, and I do like your idea BUT how to get other people on board ? I know this is something we as a group at ArtBookArt are thinking about when advertising our event how do we get the concept across to those who think our exhibition may be books about rather than made by artists?

Yes the cost of an artist’s book versus a painting or a print, its partly to do with global forces, people can buy a book (any book) much cheaper and most people do not have the awareness of time taken + cost of materials. However in the right place and with the right buyers it is a different story. Perhaps venue and place is an important consideration in the selling and understanding of artist made books, and when trying to reach people who have never heard about them perhaps there has to be a different approach, a more educational one with some work-shops on simple book structures.” Gwen, (Artist’s Book Maker).

“You make a good point there Pete.

BookArt is a confusing term and it also hides a lot of mediocre stuff as well, just to do something in a book theme is not necessarily good art, it attracts all different sorts and some are not artists but craft people.

To me, for it to be good art, the book form has to be relevant to the art work, it has to enhance/emphasise the artistic thrust of the work. For instance your Venus Stairs book is a story of a work being created, over time and thought, into a an artwork.  Also, using the structure of a book and distorting it to jolt or draw out another perspective, such as using folding lead sheets, is another good way. Also, the attraction and power of using literature/poetry/drama/knowledge communicated in words, as another material to incorporate into the artist’s ‘palette’ is very powerful. There could be an interesting search and analysis on how artists have used words/books in their works over time.

So, anything to help explain that these works are art works based on a book form could be useful.

Maybe it could help shake out the different type of players under the ArtistBook banner from fine bookmakers, crafts people, illustrators, printers, poets/writers, to artists. There will be a lot of resistance to change the term from the established ArtistBook fraternity. But from an artist’s point of view I guess there would be a lot of agreement.

I like the pop-art shout. I have another one, WaBiAW!   Words and Books in ArtWorks!

It’s really all about the emphasis and priority, as to what comes first the book or the artwork.” Duncan (Mod from Twisted Wheel 1960’s days.)

“…The name change might work as well and I’m not saying it’s a bad idea, but I don’t think that on it’s own it will make a huge difference. But B.B.Bam is a cool idea and I love the graphic. The battle I think is to change the way people think of artists’ books by having more book markets and making them as accessible and welcoming as possible. Keep making books though Pete, and entertaining us with your wonderful performances.” Gary Malkin, Book Archivist BALTIC

longer deeper version ‘we all want a happy life’

There’s a short version of this at https://apulhed.wordpress.com/2015/06/28/we-all-want-a-happy-life/ but this one’s delving deeper into my passion, ‘What makes things tick and why are we here?’

We all want a happy life!

‘May I be Nothing but the peeling of a lotus papering the distance for you underfoot. Tiny yellow bundles bursting like stars Like smiles And the laughter of the bells’ Said Patti Smith on reading her pome to the Dalai Lama commemorating his 6^th july 80^th birthday forthcoming. Then surprise surprise out he came at Glastonbury! http://www.bbc.co.uk/events/e84mxj/live/c9wrbp He cut a cake full of fresh fruit. Then walked out front and did a speech, “We all want a happy life Each new day Birthday In order to be more happy day Keep here (points his chest) More Compassion It creates Honest, Truthful Transference And Trust We are social animals Friendship does not come thru money” Then he let Patti kiss his forehead and he blessed the crowd and was led away.

Patti did a great set, especially her ‘Horses’ and Sir Van’s ‘Gloria’. Other highlights for me were Mike Scott & his new Waterboys. He sang a song about Kerouac & Cassady. He is on the track by Jackie Leven that inspired my Clay jug series. Seems we sing from the same songsheet only I don’t sing/can’t sing. I loved the masks they wore. Also ‘Goat ‘ wore great masks too. I thought my masks were good, but now I must return to the mask-board. Here’s one I made earlier, The Squidgerat King.

In fact I ain’t got no time to mek masks right now am making books and stuff ready for BALTIC bookfair in a couple o weeks. http://balticmill.com/whats-on/artist-event/artists-book-market

Some Implications of seeing Gyatso at Glasto

I seem to have had ‘some deep realisation, some moment of realisation’ (Miller) but be wary too, cos the Dalai Lama warns that nothing is permanent nor as it seems. (And I must thank Auntis BeBe Cee for the use of images they projected to the world over iplayer. Mere fleeting moments of my joy not just watching Patti Smith and her white haired band perform so ‘strongly’ as the Lama put it but also the shock & glee at seeing the man known to his people as The Ocean of Wisdom appear in person at Glasto (something I have never done, altho I did go to its inspiration, The Bath Festival 1970).

Now let me delve deeper. Overnight I slept on what the implications are of seeing two folk I have much admiration for, Patti Smith & Tensin Gyatso, together on stage, two such apparently diverse lives and styles. Like Rabindranath Tagore reportedly said, ‘You and I are artists Dilip, not yogis by temperament.’ So Patti the artist and Gyatso the yogi meet! I had picked up a book I read (reed) but never finish, DALAI LAMA- THE CHANGE INITIATOR published in Bombay 1993 and written in almost pigeon-English by two (very) Indian men, Dr Bhaskar Vyas & Dr D V Nene. Their turn of phrase is of course from their cultural background, their use of English is not quite ‘correct’ but still better than my use of Indian, cos I don’t use it at all. Nevertheless they have written pretty profound stuff and my almost chance picking up this book to browse again has led me to a personal realisation which I shall inform you of. If you can come with me and ‘get’ what am about to try to reveal then you’ll maybe agree it is special. If you are too busy etc, then so be it. Patti’s first line was ‘May I be Nothing’, immediately I thought about Nothingness, termed in India as ‘Sunyata’ the experience of peace, devoid of any content. Also Sunyata is defined as pratit-yasam-utpada dependant arising which the Dalai Lama says is the way everything depends on everything else, nothing is not interconnected. In fact EVERYTHING JUST IS. And in fact every no-thing ‘just is’ too. OK bear with me. Our Indian authors Vyas & Nene in a very short passage in the book mention several renowned spiritual leaders in quick succession, I shall quote directly as it is complex and you will need to read thru several times but for me it makes so much sense: ‘… is best explained in modern [the] modern astrophysical term of ‘Black Hole’. This is where the entire Universe is collapsing into; and all that goes into black hole is reduced into such a density that is hardly exists at all but then the black hole might also be the originator of “new universe” at the other end of it. Sunyata is like a black hole. All phenomena collapse into it and it becomes nothingness; yet, it gives rise to all the phenomena as we see them. Action within or action without ultimately may mean nothingness. But at the same time, it is action that characterises life. We may therefore choose as to what kind of action we may take recourse to, but act we shall have to, so long as we are alive.” Interestingly the Dalai Lama commented on Patti’s form of action whilst he also mentioned her age vis her and group players’ white haired bonnets. He seemed tickled pink by her powerful voice and the strength of her actions (at her age). Then Patti said his voice carries much further than hers. Such mutual respect from so diverse natures. Gyatso is so considerate of others’ feelings yet Patti seems to ride her rude horses slipshod over accepted norms as she swears cusses and spits her way thru her set both are masters of illusion. Neither are what you seem to see. He looks meek yet is strong like a mountain yak. She looks hard yet she’s such a soft internal spirit. I saw her at the Blake society give a speech-reading-recital-sing her own poemsongs and those of Blake. She was so intimate with the audience, so loving and gentle. You must watch it on iplayer.

ps I have decided to send this out to all of youse who are starring at the forthcoming Artists’ Book Market at BALTIC where I have a table under my title Apulhed Originals. I have done ‘Apulhed’ since I created him in 1971, he’s like a weird Rupert/Tin Tin/Snoopy character created to carry my ideas & explorations in graphic form altho nowadays he only makes cameo appearances like in the header above. Apulhed was my alter ego and companion thru the early days of my writing and art-making. I look forward to meeting some of yez at BALTIC.

I hope nobody gets upset at my ‘networking’ to my fellow table holders at BALTIC but I come from the same generation as Pattis Smith and we got the balls to get out there and tell it. But I do not condone spitting on stage, am not going to do that, there’s a limit!

Keeping up with the Broons?

Keeping up with the Broons?

I hope youse all got down and di some yoga on the longest day as it wer internatural yogic day! I did. I did my first ever solo on me own alone astanga session and i nearly got into the balance position in a head stand, not quite, still work to be done, isn’t there always?

here’s Apulhed doing yoga, getting down to do ‘child-pose’.

 In my past two blArts I went on abart Firstsite Gallery Colchester’s new beginnings under new appointee Anthony Robert’s leadership.  Am sure they’ll fare better in his hands but now I return to my own progress thru mi arts.

Before going any further I must say am living on ‘bonus-time’ when am 64. I attempted to ‘make it’ as a artisbloke between 1969 and 2015. I amn’t ‘trying’ to suck seed any more. If you don’t make yer fist million by the time yer 30…40…50…60, yer not going to mekkit, are yez? So am not making it but am still proud of my lifework which is by no means Opuscule. I been lucky too; Van Gogh, Watteau, Modigliani all died before they were 64, as did D H Lawrence.

A lot is happening in the second half of 2015. I shall be 65 in October and could just retire to ma garden, which is Hugh, but you know I won’t. Ting about my garden is I get down thur and I tink about say Lennon or some other rich bloke what ‘made it’ but they never had the time like I do just to pull up weeds in their garden or chat with a little robin.

The good ting about not ‘making it’ is my time is my own and I do what I choose to do for my ‘art’. There’s no expectations.

In just under 3 weeks time (soon!) I shall be at Artists’ Book Market at BALTIC where my major work, Venus Stairs, will be on display and I’ll be doing a ‘talk’ about it. I did offer it to some other galleries but BALTIC are the first to take up my offer. And they have been great in the run up. They’ve got a good venue in which to do the show, complete with AV facilities and the promise of back up for technical tings. Like James Brown did before me, I Feel Good. (but Ed Sulliman don’t look too good now do he?) https://www.youtube.com/watch?v=t08ejaQqWjY All I got to do now is; make the new book for that fair, work out my routine for my ‘intervention, practice it, hone it, get the powerpoint done…not much then, no pressure.

So this is the plan:

Pete Kennedy Performance 12 noon Saturday 11^th July at BALTIC Centre for Contemporary Art, Gateshead:

venus on stairs working sketch

‘Venus At The Stairs’

Using my painting Venus Stairs (inspiration taken from paintings by Marcel Duchamp, Nude Descending a Staircase and Oskar Schlemmer, Bauhaus Stairway), my Big Clay Pot and some accompanying books Artist I shall be presenting a performance including Luke E Walker and others’ music, my poetry/senryu* readings & little dances.

I shall read a number of my Kerouac influenced ‘Senryu-Pots’ or ‘Haiku-Nots’.

*“…whereas haiku deals with nature & seasonal reference senryu does neither, senryu is specifically about human nature & relationships.” (Regina Weinreich). Kerouac wrote what he called Beat Generation Pops, hence my ‘Senryu-Pots’ or ‘Haiku-Nots’. Those who come to it can aks more questions then.

I shall bring my Big Clay Pot, which contains six etchings & poems on scrolls. The Clay Pot, itself inspired by the Kabir poem of the same name, is very important because a set of 4 ‘books’ on my table and much else in my body of work arose from it.

I have created, especially for BALTIC, a book, called Venus Stairs (which gives insight into the process and influences in the making of the Big canvas version of my Venus Stairs image), that will be available at my table with lots more of my recent books and ephemera.

What’s keeping up with the Broons? Well, one of my greatest graphic influences and inspirations is that phenomenally gifted and hard-working artist Dudley Dexter Watkins http://www.comicvine.com/dudley-d-watkins/4040-55871/ . Such was his gift that he was given dispensation during world war 2 to stay in Dundee so that he could continue drawing comics for Thomsons where he created Desperate Dan, The Broons, Oor Wullie and Jimmy & His Magic Patch. The latter is up there with Hermann Hesse’s Journey to the east as my greatest inspiration. I could NEVER ever deign to say I was ever any where near as good as him, he was for me better than Frazetta, and Frank Hampson the creator of Dan Dare http://frankhampson.blogspot.co.uk/ . For me only Rick Griffin http://www.myraltis.co.uk/rickgriffin/bio.htm  who created the artwork for the Grateful Dead or George Herriman http://www.georgeherriman.com/biography.html   can touch his robe. Altho’ Robert Crumb who uses similar technique to Watkins is good and I love his Mr Natural. I mention Watkins & Crumb as drawing influencers in my book Venus Stairs because when I was stuck and couldn’t work out the composition I decided in a moment of inspiration to let loose and draw like they do/did. It released me and I eventually cracked it.

Then there will be the book fair at Hadleigh (Sat Nov 14th) at which I am hoping to reveal my new version of The Shrewd Idiot to celebrate the 40^th anniversary of the launch of my first artist’s book, Apul One. All I got to do, after Baltic, is cut down 300 pages of type etc into a beautifully designed and layout-ed artisbuk. No pressure, but the robin may be squeaking to himself awhile.

In the ‘Fall’ my article about the influence of 4 German practitioners is going to be published in The Journal of Artist’s Books (JAB) Chicago, thanks to Brad Freeman for his interest and patience. Work I done throughout my life has always had its precursors and inspirers many of whom turned out to be German, funny that.  Don’t worry about my workload cos that article is ‘in the bag’ already.

Here’s one of my German influences what I drew at the RA, he’s holding ma drawings. I sent this to the RA but they sent it straight back to me saying they don’t look at unsolicited picture’.

Also, there’s going to be a new ‘illustration’ what I dun in Karen Dennison’s poetry&pictures call & reply book in autumn,The sequel to the Book of Sand pamphlet will be called Blueshift.

Then in 2016, wennam an OAP, am thinking of trying for an exhibition in Colchester Library to launch a artis-book am doing about my home town boys what went to fight in the Somme and most did not come back. The war to end all wars they said, just like they had said back in 1815 after Waterloo.

here’s Apulhed hoping beyond hope that one day we’ll all live in Peace.

Just off to get ma skates on.

Triumphal Buzz

Triumphal Buzz

In one fell swoop Anthony Roberts has turned the juggernaut that was Firstsite gallery around.

(In many ways) Misused & Underused Confused & Abused (MUCA), The Golden Gallery seemed interminably Directed in constant collision with calamitous disappointment NOW it has been re-Directed and appears to be heading for the success it should have always known. It will be hard, rough seas will be born however there is now Hope, hope for the future of Colchester as a great centre of art which attracts not only the local populace but people from far & wide. Much work to be done tho’.

 

And Virtue comes from Oswaldthwistle!

The artist who has been fortuitous enough to benefit from Anthony Robert’s advent (the feeling’s mutual I’m sure) is called John Virtue who hails from my neck of the woods, the home of Accrington Stanley. His work is very good. This show is all B&W. My favourite work is in the display cabinets in his sketchbooks wherein the images are drawn on location. These images have everything; vitality, washes of greys and the flurry of a variety of marks and lines that describe the swishing and swooping of the waves and wind.

I’ll say no more, just look at these images from the opening (Friday 12^th June 2015). Look at the happy crowd of all ages giving rise to a Wonderful Golden Buzz!

Ps I won’t be showing at Firstsite, not just yet yet but I shall be showing at The Baltic Gallery (Gateshead/Newcastle) on the 10 & 11 of July 2015. There’s a lot to learn from the Baltic. Vatch dis Kevin Spacey for more on that soon.

Carry on regardless.

There’s No Hope for an ole fert but I see our ‘Tracey …. creates Penguin classics covers for Henry Miller novels.’ (Henry would squirm about on his cloud!) And I think I will have to throw in the white towel vis a vis trying to find outlet in the ‘art-werld’, it’s too blind to see ma lite.

One time I’ll write a book and in it just print all my rejections from the past 45 yearns. It’d be a big, FAT book too. Maybe I’ll edit it back to just tree werds, (well six, no n/mine actually)? They are imprinted on me art mi artys.

“not quite right (fer us)

best of luck (elsewhere)”

I shall jus carry on regardless.

Like Jack did, Kerouac that was.

I bin ritin haiku pops like what he did,

He taught moi all he knew.

So here’s a taster o ma new haiku (nots):

Can I hack it in haiku?

Seventeen syllables and

Three short lines “Ah So!”

I wish to write about

My journey as is shown

In my Venus Stairs

People walking up and down the steps

Along balustrades

In to heaven.

Bukman arising from Venus Stairs

Also, I bin werkin on ma new buk, wenni complete that (Venus Stairs) I’ll continue wid ma New Shrewd Idiot, then it’s The Genie Ass. I don’t have time to do ma blArts right noo. I’m excited by this new book, Venus Stairs, it flags up a new dawn based in 50 years of finding out; art, life, all.

1969 poem in the back of an open lorry

In 1969 I wrote this poem in the back of an open lorry which had just picked up two sixteen year old hitch hiking Welsh newly-weds and a nineteen year old me.

They offered to buy me breakfast in the transport Café cos I only had a penny left which I had been given by the girl Gwennie in Under Milk Wood (not)

Yesterday I wrote another poem on the train this time

Not much has changed

Except my age, my experience, my prospects

I am still writing drawing photographing

As I move thru the days and years

Hoping one day to get thru

Maybe to you or

Some others

Then I popped into Tate and saw the wonderful works of Sonia Delauney displayed. And entered the Offprint art publishing fair at Tate which was great altho I only did about 6 tables of the 140.

I met some lovely folk. I met Richard Embray’s colleague at the Fourcorners table where I meant to buy their book of Paolozzi archive stuff but I never got back to buy it cos my ‘egs were laching’. I spoke with Krystine (?) at Argo Books and bought Kirstine Roepstorff’s beautiful ‘book’ Horizons of the Moving Mind which is composed of a folder, like my Inside this earthen vessel, with nine ‘repective pamphlets’ tucked inside a bit like b s johnson’s The Unfortunates. I am all into these odd arrangements in artisbuks cos I don’t like the norm. Ditto do some good books, http://shop.dittopress.co.uk/products/god-listens-to-slayer-sanna-charles-pre-order I loved their use of little inserts.

I particularly liked this one by sternberg press

http://www.sternberg-press.com/index.php?pageId=1546&l=en&bookId=440&sort=year%20DESC,month%20DESC

see also http://www.thebooklovers.info/Artist-Novels-The-Book-Lovers-Publication

and maybe this about Picabia- http://ensembles.mhka.be/items/11381

Then I met Aaron at Morel books http://morelbooks.com/Bookshop.html we got on fine and when I said I am re-working my 1970’s buk, the shrewd idiot he said yes send me some of the pages as it grows, so I shall as am getting very excited as the book develops. I am using the original hand-writings and the typewritten type as my ‘fonts’ and the words become the pictures. And the pictures will overlay the werds. I can’t ‘see’ the finished work but that ‘chance’ elememt is very exciting in the mix. He has a couple of Blake (Wm) plates and prints from them and also some work with Patti Smith who I luckily saw do her intimate readings of hers and Blake’s poems etc at the Blake Society do a couple of years ago. I like the way Aaron obviously likes the use of overlays on words and that’s the way my New Shrewd Idiot is moving, with my 70’s sketches and photos in front of the werdz and also I can scrawl over them with my hand-written and calligraphic ‘marks’ of today.

I managed to speak with Colette about my work and asked to be considered as an exhibitor at the next event, altho I’ll be a small teeny weeny fish in a BIG pond if I get a table. She introduced me to her partner who selects the table holders and both of them said they like my little buk Inside This Great Jug. And by the way last week the Saison Poetry Library has accepted a copy too.

I am pleased to say I shall be doing ma ting at the forthcoming Book fair at the Baltic in July, so I must learn the words and get dancing again. No rest for the wicked. Am also intent to make a new little buk about the creation of my big pic, Venus Stairs.