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.
a little Bourgeois sculpture from the Tate collection .
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 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.
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.
I still keep making my art, this blArt is pArt of it too.
Mona Hatoum’s show is wonderful too.
I posed for these photos in her ‘Corps Etranger 1994’
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
Syria? First alphabet- Ugarit ( The golden age of Ugarit. The most prosperous and the best-documented age in Ugarit’s history dated from about 1450 to about 1200 bce and included periods of domination by the Egyptians (c. 1400–1350 bce) and the Hittites (c. 1350–1200 bce). That age produced great royal palaces and temples and shrines, with a high priests’ library and other libraries on the acropolis. After the discovery of the temple library, which revealed a hitherto unknown cuneiform alphabetic script as well as an entirely new mythological and religious literature.
The art of Ugarit in its golden age is best illustrated by a golden cup and patera (bowl) ornamented with incised Ugaritic scenes; by carved stone stelae and bronze statuettes and ceremonial axes; by carved ivory panels depicting royal activities; and by other fine-carved ivories. Despite Egyptian influence, Ugaritic art exhibits a Syrian style of its own.
The excavators of the site were fortunate in the number and variety of finds of ancient records in cuneiform script. The excavations continue, and each season throws some new and often unexpected light on the ancient north Canaanite civilization. The texts are written on clay tablets either in the Babylonian cuneiform script or in the special alphabetic cuneiform script invented in Ugarit. Several copies of this alphabet, with its 30 signs, were found in 1949 and later. A shorter alphabet, with 25, or even 22, signs, seems to have been used by 13th-century traders.
Scribes used four languages: Ugaritic, Akkadian, Sumerian, and Hurrian, and seven different scripts were used in Ugarit in this period: Egyptian and Hittite hieroglyphic and Cypro-Minoan, Sumerian, Akkadian, Hurrian, and Ugaritic cuneiform. These show clearly the cosmopolitan character of the city.)from– http://www.britannica.com/place/Ugarit
I felt privileged to be first speaker out of the blocks and did a rapid show of the several books that I have made following Joanna Drucker’s introduction to the history of the written word in her Alphabetic Labyrinth which really inspired me to make books of many different historical types and ultimately to do this PA piece (https://www.google.co.uk/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=alphabetic%20labyrinth) Since I started the project it has taken on a life of its own and led me to much new knowledge.
The PA took place at 3pm and I did give a short intro to what some of the moves meant.When I referred to the fact that there’d probably have been copies of the Kabir poem, which I use as inspiration for my project, in the shops that got blown up I felt myself starting to cry unintentionally. Doing PA does touch a chord.
Happily my Performance Art piece went down well [‘Thankyou Pete for an awesome performance’], even converting several folk who had been sceptical about its fitness for purpose. The attention to detail is quite startling. Whilst watching my PA I realised in the mime about making letterpress print I had forgotten to ink up the ‘chase’ so I went back and did it (in my mime) and sure enough one lady said afterwards that at the time she thought, ‘He’s not inked it up’, which shows the concentration of the audience. Apparently you could hear a pin drop, probably when I mimed holding the needle to sew the book sections together?
Some members made pleasant remarks about my little new binding of David Jury’s prints of my 6 poems in the Vessel. Well, not so little cos it’s about 20” x 18” and some were amazed at how I had managed to keep such a big surface area from bending. Actually so am I and I told them, ‘It’s beginner’s luck, follows me everywhere.’
In fact it is the result of many years of only sporadically making traditionally bound books, partly because I like ‘alternative’ but partly cos I was always frightened of being judged incompetent. The confluence of my increasing self-reliance and a perceived need to bring David’s beautiful rendition of my words made me so determined to overcome my personal weaknesses and get the darn thing done and done well. The book took a few weeks of research, seeking advice from DJ and ace bookbinders Mike Sullivan & Son (Robert), doing trials and buying the right materials. And taking lots of time and consummate care! So when I finally released the book from under heavy boards last week this was my reaction, “I have just taken the new ‘Vessels’ book out from under the weights and in my eyes it is dang near ‘perfec’. [However, remember the compere in ‘Cabaret’ who sang ‘If you could see her thru my eyes’, whilst looking at a gorilla!]I am over the beautiful waning moon I can see out my window this morgan. Wow. It’s taken several days of tears & sweat but I am glad to say it is good (enough for me, and that’s ‘good’.” Here’s an image of it.
And for those interested here’s my work towards the day:
Visions of Joanna The Ideas behind and Script for S o B.
In a recent interview Yan Martell said he thought that art can bring about changed perceptions by altering your perspective, “to posit a different reality” [to that/those with which you’re familiar]. All my life in art this is what I have tried to achieve. I always looked for a difference. Now in my Performance Art I have discovered a way to animate my vision.
We all know about books. Many of us make beautiful books. But do we all remember the way the word was first turned from an aural thing into a physical thing? At first it was inscribed in clay then a variety of different grounds were tried. We are embarked on the digital age and who can dream of where that will take the book? I look at different book forms and try to create them and their makers using my body and some props and specially composed music. The bark mask is typical of my creative process. I conceived the idea and began to make it using materials I had saved from my work in my garden. As I moved through its making I allowed the mask to dictate to me some of its form hence some rather unusual asymmetrical results with the elements of surprise and a degree of shock.
I am standing still, wearing black vest & suit (no shoes), hold up the bark mask, looking at the audience. “I am the book”
“We are all aware that paper is made from trees. But in Gandhara they made scrolls from birch bark and buried them in pots. These are the oldest surviving Buddhist texts ever discovered. (pick from the pot show my scrolls and place as start of the ‘sculpture’ which will be feature of the Part 2.)
As my tribute to those early pots I made my own pot with words around the neck and scrolls hold my words and images. I need to mention Jackie Leven here. He sang a wonderful version of a poem by Kabir which I shall recite as I cannot sing”.
I use music specially written and played by Luke Walker for my Clay Jug.
“Inside This Clay Jug there are canyons…”
“I am doing my piece in 2 parts of 15 minutes each.
This first part I shall introduce a series of books to you and tell the background which is really the history of the book through my own book-making. Then in part two there’ll be no explanations just enactment.
I have produced a book, G BATCH, which explains the project and contains the first version of six poems that I wrote feature which throughout the series.
Whilst doing my Masters I was amazed by Joanna Drucker’s Alphabet Labyrinth book which goes into the way the first words were put onto a surface, the first writing. This was on clay tablets, which I made but not using cuneiform, just English. (Show my yellow one & place in sculpture)
I also made a clay poti, (show and add to sculpture) which is a book form used in the East. Tibetan monks like the Dalai Lama still read from daphne paper potis.
I shall be referring to my Leaf Books here. Which are in codex form. (show and add to sculpture) Later the letterpress was invented and books became more available. I did a collaboration with David Jury with my Earthen Vessel books.
Wear black vest & black ‘dance’ pants. Also I shall be using a shawl to add the ‘outfits’. For each part first pick up relevant ‘book’.
(with this movement in between each book:
Foot forward, back, move left, hands up
Move right hand out to right and back
Move left hand out to left and back
Foot forward, back, move right, hands up
Pull hand over hand to left to signify pulling back time)
The PA piece:I was going to recite this but I forgot:
‘Have a care
Beware, it’s best to be wise
If you go down to the woods today
You’ll never believe your eyes
Be careful what you do to the trees
The guardian is in his guise.’
Everyone knows paper comes from trees but did you know that in ancient Gandhara they created scrolls from birch bark? These were found hidden in pots and are the oldest records of the life if Buddha.
The Tree-King is slightly scarey and gives warning that we should care for and treasure the tree.
Performance Art has an unsettling aspect here shown by the Tree-king who sets the tone of the scene. Using an invisible cord I connect with past times and I trawl through different book forms from the past 3 thousand years; clay tablets, scrolls, pothis, manuscripts, letterpress and eventually codex. I attempt to create various historical book forms and their makers using my body, mime & movement with music created by Luke Edward Walker and mark Newby Robson. I shall exhibit and refer to several of my own books influenced by; clay tablets from Ur, pothis from Tibet, scrolls from Gandhara, illuminated manuscripts, letterpress pages and codex. Watch me become the book-makers and the books. Meet the scribes, calligraphers, printers and book-makers from bygone ages.
bark-mask the bark-mask covers most of my face, stand tree like to start. unmask
begin Luke Walker music
‘bow’ to Pot from which I take
Move thru the books-
clay tablet- use one of the clay tablets from poti or the yellow one shawl becomes ‘kilt’, sit upright like the scribes from ancient Ur. Become a clay tablet
scroll- Take a Scroll from the pot and unravel it, ravel it, unravel it– shawl becomes Tibet style robe, sit cross-legged. become a scroll
codex- show one of the Leaf Books shawl becomes ‘hood/cowl’. Sitting at a desk become the medieval monks who created illuminated manuscripts. Be a codex book. Here I lay down and ‘turn’ like a book then stand and do it standing, foot out front, to side, out front, down.
Show Earthen Vessel books
I become the printer using a letterpress method?
The David Jury collaboration prints first.
Show my new bound book of DJ’s prints.
Return to the pot, go down into child pose.
I think Sonia Serrao who organised the day did a great job and there was a really happy bustle throughout the proceedings. I met and made friends with a whole new bunch of people. My mate Dave Doughty came up with me and his being navigator got us both safely thru the streets of London. Had I been on my own I wouldn’t have reached the show.
I hope to be able to add more images to the one Sonia sent me when anyone who got a good shot sends them to me.
Now that’s over I can shoot back to London, this time on public transport, to see the Auerbach at Tate. And return some books to the Poetry library.
I’d love to go to Zurich to see my friends Vest & Page, but I can’t. If you can you’ll have to go next week:
Verena & Andrea dressed up in latex. As Vest & Page they are astounding Performance Artists
Fabriktheater Rote Fabrik, Zurich
9 – 10 – 17 – 18 March, 2016, 20:00h
YGGDRASIL, the second production of Kollektiv Phantomschmerz – in collaboration with the Italian-German artist duo VestAndPage and musician Marc Rossier – is the continuation of the search for identity started in their first production Highlight. Following the question “What do you know?”, now they inquire into “What do you believe?”. In a time of spiritual alienation, a journey between conscious and unconscious states ensues through a hybrid of performance art and theatre. Shows at the Fabriktheater Zurich (Doors open at 19:30)
• March 09, 2016, 20:00 – Premiere
• March 10, 2016, 20:00
• March 17, 2016, 20:00 – Post-Show Q&A
• March 18, 2016, 20:00
See below for some images of my beautiful hand made books that I call my ‘Leaf-Books’. In fact they are both one-off/unique copies from the Clay Jug project. In each of them are six original etchings that I did plus one woodcut taken from a Tibetan woodblock. The etchings were made to illustrate six ‘poems’ I wrote about six men who contributed a lot to building our humanity.
So. I wrote, in preparation for a work I hope to develop thru 2016:
“07.21 hrs 21st February 2016 One hundred years and six minutes ago the German bombardment for the battle of Verdun Erich Georg Anton von Falkenhayn’s concept that attrition would bleed the French dry meant he used, ‘total, ruthless methods to achieve a limited aim,’ losing many Germans in the process of annihilating the French who tried to defend it. The scale of German losses brought Falkenhayn much criticism. Indeed the failure to capture Verdun ultimately resulted in Falkenhayn’s removal as Chief of Staff.
I am saying this not because I glory in war stories, on the contrary I abhor them. I have spent much of my life advocating an end to all wars and my series of books based around my Clay Jug theme are testimony, not so much mine as that of six equally anti-war men, about my point. The six men I chose all made their peace with man’s inability to stem wars. Each of them in some way made a significant contribution to ideas which promote peace and harmony. Even Joseph Beuys who was in the Luftwaffe spent much of his post war days trying to bring about a unification of what he called Eurasia. Like the Dadaists after WW1 his strange antics were anti-art-establishment actions which were designed to upset the status quo and allow for a more universal acceptance that the old ways of using bronze and marble could be ousted and any material can be used in ‘sculpture’, including the artist’s body.” Ironically the ‘art world’ adopted his work, sucked it in to the ‘establishment’, like they do with all the rebels they cannot tame- see sir mick jagggger abart that- they hike the prices up and now you couldn’t afford to buy one of Beuys half eaten marmalade tarts unless you were a Trump from Trumpingtown.
And that’s where I come in. In my Performance Art (PA) my body and its movement become the artwork, the living sculpture.
I did a big blog about my rightful place in the pantheon which also mentions Beuys and a ‘talk’ I did at the Minories, Colchester in 2013 which, for those interested in my Performance Art, you may like to visit, here tis:
Later this year I am planning on doing a piece of Performance Art about the Somme but that’s a big one and it’ll have to be designed for a specific venue, so if you have one where you’d like to see it let me know, especially if you have a venue that could be used
. I think it’s very relevant to remind folk about the futility of war. All wars have to come to an end sometime and there’s rarely any ‘winners’. The debacles in the Middle East in the past 20 years show that is still true.
Right now am working twards a small 15 minute piece (part 2) of Performance Art for the Society of Bookbinder’s bookart day.
Pina Bausch’s dance company came to Sadler’s Wells and I saw them on February 14th. I was there because of the Wim Wender’s documentary which galvanised my interest in their work and I was not disappointed. I was watching and I decided to add some moves into my planned PA piece for March 5th at Kentish Town. I have been working up this idea of telling the history of the book since clay tablets in Ur and I’ve managed to design a sequence of moves in which I mime the different processes with some small dance moves joining up the sketches.
Before I do my piece I shall be showing several of my own books in part 1. Here’s some images from them, as you can see my work is unorthodox
Front cover to Leaf Book Two
Intro to Leaf Book Two. You lift the tabs to see the woodblock print
Gurdzhiev page in Leaf Book Two
Leaf Book One
The pouch keeps the six etchings neatly together in Leaf Book One
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.
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.
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.
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 ErnstCollage books (La Femme 100 tetes) and his Livres d’artists,
Bauhaus; Klee, Schlemmer
Post war; Anselm Keifer, Dieter Roth and Joseph Beuys
*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.
‘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.
Here’s me reciting my Beuys poem. He had gold on his face, I couldn’t afford gold so I used black.
“… Sadness gives roots. Happiness gives branches. … Both are needed, and the higher a tree goes, the deeper it goes… In fact, it is always in proportion. That’s its balance.” Osho Japanese Zen master, thanks to Paper Ponderer.
So, now I don’t feel so bad after having been happy and sad in equal measure in Bristol at babe last weekend. As always in life, nothing is perfect and we don’t really appreciate the good time without the counterbalance of the not so good times. Like in my little dance, there’s ups and there’s doons.
On the Saturday I spoke with about 30 people about my work and ideas and many, predominantly those with a background in graphics, loved some aspect of my work but like most artist-types, they had no spare cash to spread.
There’s little point banging my head against a brick wall for the rest of my days and the art-world in all its manifestations is as a brick built juggernaut which I clambered onto in the 70’s and 80’s but fell off and now it trundles on without me. I been over-looked, left behind and all that ‘sadwimpy me’ stuff. I am aware that I should pretend that selling one G BATCH is tantamount to a victory, which it is inasmuch that one person took to it enough to buy one but Honesty is my middle name. Honesty is a simple plant , a bit like my self. And am sure he’ll enjoy G BATCH, like the 5 folk who came to my gig appeared to, honest. And so did I. So, if I look at what I really enjoyed it’d be the ‘gig’ & jig and the chat with all those who expressed interest in my works. My favourite moment was watching Nancy Campbell & Donna Williams do their readings. Donna used signing (BSL) to ‘say’ her poems as she’s deaf and I loved her dance like hand movements. Nancy read some of her Greenlandic words and their English translations and she posed beautifully with her pages. My second favourite moment was talking to my pot and dancing my whirligig to a packed hall of 5 onlookers. Two longstanding friends and three women who were experiencing my dulcet tones for their first time.
And the street art in Brissol is wonderful here’s moi with my JAB Chicago cap on cos they’re gonna publish an article of mine come the fall.
I gottu ‘do watti got to do, come on and see me when you can. I was looking for that Nina Simone track ‘Come Back and see me when you can’ on utube but couldn’t trace it. But I found this Wailing Jennings track which is sad but lovely and it seems the person who uploaded it thought Wail-on must have aimed high with the women he wished for, or did he have them then lose loose them? Then Wail on Jennings! Anyhow, I aimed high and now I seem to have scorched my wings.
C G Jung spent most of his life investigating the nature of humankind in its dreams and distant past. He was an advocate of the I Ching and a Gnostic thinker. In some ways Jung was an exile from his contemporaries and his own daimon. ‘Since my contemporaries understandably could not perceive my vision, they only saw a Fool rushing ahead. A creative person has little power over his own life. He is not free. He is captive and driven by his daimon.’ (Memories, Dreams & Reflections, p356)
Pete Kennedy is just an Idjet in a Jug who looks a bit like old Jung did but hasn’t got his pedigree!
So the fool called Kennegly set himself up to do a short ‘performance’ at BABE cos he thought it were a long time before it appened. BUT. It’s appening this weekend coming and he’s reading some poems what he wrote about the artist from Cleves called Beuys who was himself a bit of a Fool rushing ahead into ‘talks’ with his blackboard under his arm.
So Kennegly is doing Beuy’s life-history in a poem or two or tree. The blog below gives a little bit o backcloth, or should I say a broad canvas.
psThere will be beautiful evocative music composed by Luke E Walkerhttps://soundcloud.com/luke-e-walker/clay-jug-back-story behind the readings which adds atmosphere and an element of chance. Keifer said, ‘To be an artist you need to play & Dance’ or words to that effect. Chris Wilder (?) an assistant in the making of The Bigger Picture’ animation which came secondish in the Oscars said, ‘You go to these places to make dreams come true…’ That’s why am doing ma ting at BABE and hopefully later this year at The Baltic. I’ll bee dancing and prancing like Jagger did (altho am not as ancient as he is! tho nearly yam) with a wing and a prayer on the ledge with Mr G (urdzhiev)
The activities of Pete Kennedy, Performance Artist Bloke, Book Creator & retired artist.