Category Archives: poets

a Poetry day fer me too

I write some poyms

As a artis I write some poyms

Some of ‘em are off the cuff

A little bit rough (that’s ruff)

Around th’edges

Burri don’t mek no pledges

Nor hide behind hedges shouting about em

 

No am not pledged to any schools of art

Am just a bloke what writes

In fact

Am just a fella what creates em and

They cum in many colours Oops

In many forms they comes abart

 

Some on em are short and

Not so sweet

About my everyday life

And some are much more

Cleverer

Than that

 

I write about historic tings

Like the heroes I have

Or great names in history who we never heard of much

Cos the text books do not know them as such

But I tinks they shud have some say

In what I calls my poetray

 

Some of ma poems are real clever

Like those shaped in pots

And the ones I did using snaps I took

Of words on the walls

And in books and tings

On my way ome from the poetry library

 

So this blog by this poet wallah

On national poetry day is a show-case

Fer sum of ma werks in words and

Other forms of poems

Taken from my life and all the

Experiences what I have done.

 

2. Don’t Give Up, Things Get Better One Day

 

The fourteenth Dalai Lama, Tenzin Gyatso,

Bodhisattva of Compassion, Ocean of Wisdom, Refugee

Exiled from his home Land in Tibet he had to flee

Escaping into the charitable arms of neighbouring India

 

Do unto others as you would have others do unto thee

 

Meditate on the clear Light of the Void

And everlasting undemanding love

Om ha vajra hung

Padma guru siddi hum

 

Truth and justice and human understanding

Will triumph in the end

Over Ignorance and despair

When the oppressor finally sees the light

 

Everything is always changing

We are interdependent and need one another every which way

Nothing stays the same forever

And in the end, all Empires eventually fade away

 

You must Never give up

Things will get better one day

Things are getting better in every way

If you follow the path with your heart

 

See the Wu Li Masters prancing

Just little lights moving and dancing.

All of us merely bundles of energy

Tripping and skipping along the merry way

 

  1. Vision Of Mud

 vision-of-mud

4. my Gurdjeff Pot Poem, ‘Life Is Real Only Then When I Am’

g-poem-bi-dj

Letterpress print by David Jury

 

  1. Visit this past blArt o mine on th’Poetry Library Open Day way back

https://apulhed.wordpress.com/2014/11/17/a-happy-man/

 

Namaste

last blArt to BABE

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!

mystic pete

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.

blakbord bee

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.

https://apulhed.wordpress.com/2014/09/25/inside-this-earthen-vessel-poem-6-shaman-beuys/

Hope to see you there.

a flyer back

psThere will be beautiful evocative music composed by Luke E Walker https://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)

My ‘Artist’s Books’ From Slack Space to BABE (11 & 12 April)

So what is an artist’s book? Or what is my artist’s book? In answering the former I can point to some beautiful examples of the form, well no it’s not a ‘form’ as form indicates rules to bind you by, there isn’t a ‘form’ there is just the ‘difference’. The difference is such that  artist’s books are often difficult to file in a library. They often have no side panel recognizing ‘title’. They rarely have isbn’s or all the detail about who published it and the artists’ rights. AND THEY CAN BE UNIQUE IN THE COMBINATION OF MATERIALS THEY JUXTAPOSE. So in Slack Space this week there are artists like Chris Rushton

chris rushton sm

and Miranda Campbell (& Others) who stretch the ‘form’. Chris’s work exquisitely combines her dyed textural papers and folds and tears and cuts into forms.

slac 020

Miranda makes leather bound books but also creates these wonderful things with cracked logs, feathers and curled paper with words on which would look odd on a library shelf. Anselm Kiefer makes unique books in which he uses plasterboard or lead or paper or photos as his base and then he sticks them in acid and throws mud on them and buries them and all sorts of stuff as he approaches each book as an individual work much as he does his ‘paintings’ (he’s not at slack!).

keif bukbird merged

I find his work inspiring with its freedoms and its ignoring of norms and mores (moreys? Morays… moray eels are like his books scarey). But I guess one day when I have shed the fetters of the ‘books’ I have in the pipeline I shall follow his example and make more one-offs and make em big and make em so cumbersome they can’t leave my garden where I’ll mekem wid loads of rubbish and muck and I’ll burn em and kick em and all that cos I once did karate so I can kick like a gud en. I joke but am not joking. I love it when I see the craft in book artists like Kate Bufton at Book Transformations https://twitter.com/BuftonKate and  Fiona Dempster at Paper Ponderings http://paperponderings.blogspot.co.uk/2015/02/purely-pencils-part-ii.html both of whom produce voluminously but there’s a sense of control and craft there which altho I admire I wish to break free https://www.youtube.com/watch?v=kEKVLjXO2Fk I’ve fallen in love with difference, in fact I’ve always loved her. My work is different. At present I am not cutting and folding and binding with dexterity but I am writing about my heroes, what I call mystics; artists, poets, thinkers and Joseph Beuys the shaman. And that leads me to my ‘performances’ which are part of my books. In fact I can cut the strut, fold my limps and unbind my-self thru the dance I do at my ‘talk’ or ‘reading’. And what are books for if not to be read, or scanned. In fact at the first (Slack) reading from my collaborative work with David Jury which is on display at Slack I realised something wonderful. His prints are stupendous and my words are whatever you decide they are

ves 6 sm

but when I put them into an amalgamated form where I could read them as one piece the possibilities are enormous. There’s no video of me doing that yet, so you’d have to invite me to your place if you want to see it for yourself. Last year or was it 2013 I did an article in which I promoted the idea that a pot with writing on was a book cover

the book of gnolidge
the book of gnolidge

and the scrolls around it or dropped in it were the pages. Now am saying my reading is part of my book. Beat that Anselm!

I am not taking the pot to BABE but you should see it on the powerpoint projection in the entrance to the Arnolfini. I am really looking forward to meeting you all at BABE.

 http://www.arnolfini.org.uk/whatson/babe-2015-bristol-artists-book-event

I shall be the last one of BABE’s ‘Performances and Readings’ (Meeting Room, Arnolfini) on the second day, Sunday 12th April

cast in arranged order:

 2pm Judy Kravis of Road Books

2.30pm Graeme Hobbs, Colva Books – Hill Pond. The pieces I wrote were instead of photographs – written photographs.

3pm, Field Study International – Emanation action.

3.30pm Nancy Campbell and Donna Williams – Poems in BSL and English about language learning and extinction.

cover of six mystics intro
cover of six mystics intro

4pm Pete Kennedy ‘readings’ – Inspired by Kabir’s poem ‘Inside This Clay Jug’ (transformed from Rabindranath Tagore’s translation by Robert Bly and recited by Pete) Also, various renditions (with masks) from the original book on Six Mystics- G Batch (G…iorgi Ivanovitch Gurdzhiev. B…euys Joseph. A…ngeli Silesii. T…enzin Gyatso. C…arl Gustav Jung & H…ermann Hesse.), and Inside This Clay Jug and Inside This Great Jug.

Here’s Mercury going into the mystic with one of the most beautiful and touching moments ever recorded. https://www.youtube.com/watch?v=L3RJLOyGVf0

Namaste

ps The featured  image at the top is of Paula MacGregor’s book in the show presently on at Slack Space.

William Blake (part 2) The Ghost of a flea chez John Varley

William Blake was round his old friend Varley’s house when he saw The Ghost of a flea, no camera at his disposal he quickly called for his drawing implements, or so they say, and proceeded to sketch the darned thing:

 The Head of the Ghost of a Flea. Verso: A Profile and a Reduced Drawing of Milton's First Wife circa 1819 by William Blake 1757-1827

(some images not my copyright, hope that WB doesn’t mind me used it)

How good is that then? What I saw in the Oxford Ashmolean exhibition of Blake’s work is that he was not averse to satire and he did ‘take the mick’. It’s what we boys do when gathered together, we may do a little caricature of someone we all know, and maybe dislike, and then we have a little giggle. Am not saying Blake did this here, I’m surmising. In fact F. W. Bateson in an article in 1957 explains that Blake had a way of looking upon things with what he called ‘double vision’. He saw it for what we see it as, say a thistle, and he would also see it as ‘an old grey man’. A more Blakean example would be that he saw the sun as the sun AND as ‘Los in his Might.’ Reportedly Blake was once asked, ‘Does a firm persuasion that a thing is so, make it so?’ and he replied, “All poets believe that it does, and in ages of Imagination this firm persuasion removed mountains. But many are not capable of a firm persuasion of anything.”

This blArt is looking at one or two other things that he did which have been clarified by Michael Phillip’s (& others) wonderful selection of work for the unique gathering of images in this collection. I have been glancing at Blake’s words & images for over 40 years now and always felt so small, so inadequate, because I couldn’t get the overall ‘feel’ of the man nor his work. There was always something more I had to read, go see, ask about. I think Blake was a highly intelligent, talented, practitioner who was much, let us say, ignored, maybe maligned, by his contemporaries. And I know from personal experience what that type of man does sometimes he stretches the limits. He looks at what’s happening and says to himself, “Now then, I understand what they are doing there, I can do that, only when I do it I shall do it better. And if possible I shall find new ways to do it, better ways.” Now the problem with being an initiator, an original, is that many folk out there neither want anyone to rock the boat/status quo nor do they understand innovation. Most people like it to be explained to them by ‘someone who knows’ before they can adapt to anything ‘new’. So when some of us are dissatisfied with the ‘norm’ and wish to move it on and some of are built that way, for whatever reason, we push, we discover new ways and we are not always the best ones to ‘sell’ the new ideas to , anyone. Well I believe Blake was like that. So he received scorn but was unaffected at being ridiculed. As Samuel Palmer said, “he was…one of the few who cannot be depressed by neglect and to whose name, rank and station could add no lustre…He enobled poverty…”. He rattled boats like Joshua Reynolds’ craft when he disdained painting in oils. He made powerful enemies who would not wish to find ‘good qualities’ in his work and who may (as such is the nature of the human being) even have quietly declared the ‘new kid on the block’ to be insane. It has been a title I have noticed about my own efforts, “You call that art, you must be kidding, my monkey can do better” and other pleasantries. But you see Blake had no desire to convince any of the status quo of his genius, he knew he was rocking boats and continued to do so. His mentors were proven already; Milton, Dante, Botticelli, Durer and his mentor, John Varley whose beautiful water colours must have impressed both Blake and Turner. The nice thing about having mentors who have been there and done it who appreciate from experience the qualities in your work, you don’t need everybody else to give you credit. Blake even disputed Dante with Dante, his late work on Dante is in fact not an affirmation but a disputation! Blake did not agree with Dante’s take on Heaven and all and he satirises his own hero, but such wonderfully illustrated satire, I don’t think Dante would include Blake in Purgatory.

Let’s look at some of the other incredible revelations in this exhibition. I knew before I went in that Blake had had an interest in Swedenborg. Blake’s own parents were non-conformist Christians and in their day that meant REALLY none conforming and Blake had obviously been influenced. Swedenborg in his book ‘Heaven & Hell’ and other writings had us believe he had been taken by angels to other planets and introduced to beings of non-human origin. Obviously to ‘believe’ him we would all need to suspend our understanding of what is real. Blake came to the conclusion that Swedenborg was a fraud and went on to satirise him in, wait for it, ‘Marriage of Heaven & Hell’.

swed alone

This work is astounding in its introduction of new techniques of print but more so in its mentions of Swedenborg by name, he was not disguised as a flea. I have dipped into Swedenborg’s writings but came away more confused by his work than by that of Blake. Blake had annotated Swedenborg’s ‘Wisdom of Angels’ on p56 earlier, ‘Good & Evil are here both Good & the two contraries married’. I knew of ‘Marriage of Heaven & Hell’ as one of Blake’s works BUT, idiot that I am, I had not realised he had used Swedenborg’s title within his own ‘Marriage of Heaven & Hell’. He is using it as pure satire. Taking the mickey out of the Swedenborg title by incorporating it in his own title. One of Blake’s disputes with Swedemndborg, maybe why he condemned him (?), was that the latter had not really dipped into ‘hell’. That he was only familiar with heaven. Blake considered that the incumbents of hell had a right to their opinions and had a right to be represented, so he married them. Brilliant. How better could you rectify an omission? And I believe this also gives a deeper insight into the way Blake’s mind worked. He was like Peter Cook & Spike Milligan combined into one. Almost as important he represented Swedenborg in the guise of his first draft of his later larger print of Nebuchadnezzar. He had him crawling on hands & knees. Then the technique he used was also new and it heralded his later larger version of Nebuchadnezzar in technique.

a blake socty neb

Back in 1978 I had stood and admired his larger works with their mottled surfaces but I waited to hear from Michael Phillips last week to see/realise that Blake was hundreds of years ahead of his time with his technique which predicted that of Max Ernst’s ‘decalcomanie’. Or behind the time, depending on which way you view it. ‘Tempera painting was an ancient form executed with pigment ground in a water-miscible medium.’ Tempera was the form he was mimicking because he disdained oil. http://www.britannica.com/EBchecked/topic/586515/tempera-painting

Image038

So he put water based inks onto his plates but allowed the colours to permeate and intermingle, so each ‘take’ was different from the last and all of his takes were in fact monoprints, each unique in itself! So am lifted from the hell of not-knowing into the heaven of finding out how he did it and more importantly that should be reflected in my own future work. This is a massive injection of inspiration into my willing to be influenced by Blake hands. I did a series of etchings during a recent Master’s degree and I, deliberately as I have always done, made each print I took from the plate different from the last. What I did not do, which Blake did, was add more layers of colour. So, watch out prints of the six mystics, I’m coming back to see you.

So, inspiration, that’s what I will finish this little blArt with, how Blake has inspired so many by his work. Blake’s graphic revolutionary technique of ‘illuminated printing’ and his other innovations were so ‘far outside the ken’ and were not picked up on by the print trade of his day except maybe in Samuel Palmer’s adaptations and one or two others of the ‘Ancients’ group directly influenced by Blake. The fact is few would have had Blake’s tenacity, his dedication to task (for little immediate remunerative reward), his technical dexterity and his DRIVE to create in every area; print, write and make image. Blake would also, like Rembrandt after him, change images as he took different pulls from the plates.

This is shown amply in three prints of The House of Lazar on show. One recumbent fellow’s hand moves from limp to ‘splayed in tension’.

up face gulp face

One face changes from a toothful grimace to an open mouthed gasp. The long length of paper (?) which straddle across the top of the page in the hands of the bearded character changes in each print. In two there are arrows and in one the ends which curl in the other two become as a scroll.

a flash a whorl a scrol

Blake was using visual imagery to show fluctuating ideas and meanings which themselves changed as a result of the imagery shifting. It’s a self-perpetuating wholistic creativity, a process in which the most of us are mere dwarfs compared to the Master, Blake.

Also three versions of the title page of Europe A Prophecy show how Blake experiments with creating difference. First he did a trial grey monochrome proof, then on another he added some water colour on the snake and added a figure beside the snake. In a third version in ‘relief etching with colour printing’ which in fact shows as textured like tempera. So Blake was really working surfaces for effect and for the difference that visual creativity brings but he always maintained a tight grip of the textual printed outcome, so they can be read, except that is in instances where he obliterated the title words Europe & Prophecy maybe to enunciate the figure? Blake was giving his customers individualised visual feasts. I see similarities in the modern artists Frank Frazetta http://www.arthistoryarchive.com/arthistory/fantasy/Frank-Frazetta.html & Richard Corben’s work http://www.corbencomicart.com/gallery.html. He could never have been still. Even on his death bed he created over 100 images to Dante’s writing. Samuel Palmer who became one of the so called ‘Ancients’ who followed after Blake reported on visiting him, “ …’tho 67 years old but hard working on a bed full of books sat he like an Antique patriarch, or a dying Michael Angelo. There he was making in the leaves of a great book the sublimest designs from his Dante.” These were no acolyte’s acceptance of the words of another genius, no, Blake disagreed with some of Alighieri and he satirized him too, even expressing his own alternative views one of which was his belief in a form of Christianity which believed in a merciful god which would allow forgiveness for all sins, rather than a vindictive one.

Blake’s experience and imagination was one of the most developed ever witnessed in the western world and his dexterity in making word & image remains unrivalled. He has inspired including, in my view; William Morris, the Pre-Raphaelites, Kahil Gibran, Baum, Tolkein, Kenneth Patchen, Phillip Pullman, J.K. Rowling and myself (Pete Kennedy), plus many many more, maybe even including the children’s favourite in the 1950’s Tiger Tim.

I wonder what he might have done with modern technology at his fingertips. He would be fascinated with the luminosity that emanates from our computer screens and of course we know Blake had no access to Photoshop, did he? All the changes he made were rendered by hand. Bless him and his ever helpful wife Catherine.

And by the way the Ashmolean’s catalogue is a great read so thanks to they for doing it and to Michael Phillips, Colin Harrison & Martin Butler for the insights written into it.

Well done, I nominate all three o’yez Honorary Ancients!

Above are my own views and they are not necessarily all based in worldly reality but I believe they give added insight into the marvellous man whose feet did indeed traipse upon the streets of London and it’s hallowed hills which would ‘assume a kind of grandeur from the man [passing] near them’, as Palmer would say of this fitting companion for Dante, this man without a mask!

blakeman in my card

Another blArt composed by Pete Kennedy MA (Art & the Book), Adv Dip Ed (Cambridge), DMS (Danbury), B/Ed (Exeter), RA Doubtful. Thorsday 11.12.14

 

 

 

 

 

 

 

 

William Blake ‘The Master’s Eyelash’ at Ashmolean, Oxford. Part 1

Michael Phillips attention to detail is such that he said the bristle from a brush he found on a Blake print in an American collection might have been one of Blake’s eyelashes, then he extemporised, “Wouldn’t it be good? They could then extract DNA from it and behold, LITTLE NEW BILLY BLAKES!” Am not sure if they let even one more William Blake loose in the modern world it would be a good thing? I think the one and only did leave enough for us to ponder upon ad infinitum, and we still won’t squeeze it dry of the Inspiration & Imagination the great man passed down to those of us willing to try to walk the path awhile with him. And as all who have trodden the path all know Blake is both hard to understand and greatly mis-represented but for those who walk with him and his spirits of fleas and Albion the path is full of surprising little miracles and revelations. Phillips has walked a long way with Blake and has found out a great deal about the master’s methods which in turn he is keen to pass on to us lesser mortals. For myself I am willing to drive to London or Oxford to hear him and watch him demonstrate Blake’s techniques because I believe an artist learns more by ‘doing’ than just watching. Ever since I caught the Art-Bug aged about 17 in the late 1960’s I have always created art of my own and made my own paltry attempts at ‘writing’. My efforts opened many doors for me and one day my own ‘doors of perception’ may be flung wide open too. One man in the audience asked Michael why folk like The Door’s Jim Morrison didn’t know about Blake being the source of Huxley’s quote about the doors of perception, which I think belittles the Door’s frontman unnecessarily as he too wished to be seen as a poet of note and is by some. http://zoamorphosis.com/2011/03/how-much-did-jim-morrison-know-about-william-blake/ The reason for the link to Huxley was because Aldous was known to have taken some hallucinogenic substance (of which Blake also almost certainly partook?) and written a vivid account of his experiences whilst LSD etc were in vogue when Morrison was writing his lyrics for the Doors. http://healthland.time.com/2012/01/24/magic-mushrooms-expand-the-mind-by-dampening-brain-activity/ the American erstwhile Punk princess Patti Smith too is a great fan of Blake as she recounted and demonstrated when she read and sang some of his poems along with her own at an Annual lecture of the Blake Society.

michael phillipshands

I have been going to Exhibitions like the massive show at Tate (now Britain) in 1978 and this exhibition for me equals if not betters that show with its scope. I’m no aficionado and there’s much I need to read in his own write and about him but this exhibition is the best I’ve seen on Blake. Phillip’s insights grounded in his working knowledge of Blake’s printing techniques underpin the theme of this literally wonder-full show which both informed me and clarified some things and has led to a breakthrough in my understanding of Blake.

It has to be said that the first room of the show seemed dull to me but it became apparent that it was there to illustrate the feel of the time when Blake entered the hands of Benjamin Malkin who, in the spirit of the recently formed Society of Arts, opened doors for Blake the son of man from ‘the middle ranks, a hosier’. He entered the Par’s school of drawing in 1767 whilst still only 10 years old and was encouraged to attend auctions at Langford & Christies and view the works ‘to become familiar with the different styles of the recognised masters of the day’ (like Durer’s engravings). Blake also collected books and prints cheaply and was attracted to satirical books printed in unorthodox styles like George Townshend’s ‘Political & Social History Of 1756-7’. Although the norm was to print words and images in separate process he probably decided, early on, that he wished to print word (letterpress) & image (engraving or etching) at the same time in one pull/take.

 press

The next room sees Blake taken on for an apprenticeship by James Basire in 1772 where he learned the ‘Secrets’ of the engravers’ techniques, the tricks of the profession and saw pencil copies from Raphael & Michelangelo that his master had done in the Sistine chapel & St Pauls.

By 1783 Blake’s first letterpress book of poems revealed his ‘absorption in …the bible, Shakespeare, Jonson & Milton’. Blake indicated early on that he was not afraid of courting controversy and challenging society norms when he empathised with the disgraced poet Chatterton, whose had tried to pass off some of his own compositions as 15th century poems before taking his own life thinking his pursuit of recognition was in vain.

Basire sent him to draw the tombs and sculptures of dignities in Westminster Abbey which were then printed and we see some of the results in this show. He would have been allowed to peruse illuminated manuscripts in the Abbey. Blake learned to write backwards/words with facility like the engravers of his day and the exhibition shows his delicate effort to move from individual letters to cursive style. He learned to master both engraving & etching but that was not the end of it. He created a form of printing totally original to himself so that he could put his words and images onto one plate and print it with one pull. (Phillips is going to be demonstrating these techniques at the Ashmolean on Tuesday thru Thursday 9-11th December {check times} on a press similar to the one Blake would have used. His demos are very insight-full!)

michael phillips

This was probably because for Blake print was only a means to an end, the end being to get over his thoughts, ideas and dreams, whereas most others in the print trade were craftsmen paid to do the work of others. Blake called his new method Illuminated Printing not only in a nod toward the Illuminated manuscript but also, as Phillips pointed out, because of his use of pure pigment and the type of paper he used which allowed his early books to reflect light through the inks not just back off them thus giving a look of illuminated light, much as we see on the computer screen nowadays.

Blake sucked in ideas from all the sources he revered and his fertile imagination kept on developing both him and his ideas as his own personal view and vision grew exponentially along with his consummate skill. Because he was not from an aristocratic or high society background fashions had no hold on him and he would not conform his ideas to suit anyone. He was a grafter who came from a working class tradition of dedication to task yet he had been allowed in to a world of the privileged and on entering it had the penetrative eye of somebody untamed by societal convention and expectation. Blake, like Leonardo, was to experiment with methods of creating his imagery throughout his life. Unlike that other Renaissance master, Michaelangelo, Blake could draw the female form with consummate skill showing slenderness and grace.

plastic box ad

There is still much more to say about the Ashmolean show, the things it has re-awakened in me and also inspired but for the sake of you who have only limited time to peruse blogs I shall finish here and continue this Blakean piece in my next blArt! If you wish to see the next installment just hit the ‘follow’ button and you’ll be sent notification when i post it. Namaste.

and a big thanks to all the folks who have already ‘liked’ this post, the best is yet to come (I think)

Drawing on Rembrandt inspirations

I done a flurry of London visits & reported them in my last couple oblArts; Poetry Library (A Happy Man) & Keifer (Books of lead fly in the R.A). This week I saw the new Rembrandt show at National Gallery (which was the first London gallery I visited as a kid of 10 years in 1961 and I sent my dad away so I could just sit and look at the Leonardo cartoon fer an hour or so). Of course I love his self portraits but the best in show are the etchings, the way he works the surfaces of the different takes and the surprise that he printed them on Japanese paper which was being imported by the Dutch East India Co. in the 1600’s! despite her overt military history epitomised in their fascination with the sword there’s been ages of producing beautiful pots, paper & calligraphy there. For me Rimbrandt is unequalled in the fields of oil paint & etching. F H Haagensen was a great etcher who was probably inspired by Rembrand’s technique, as was most certainly Picasso. Funny how ‘great ‘ artists get access to collections of work that many of us never see. Auerbach  http://www.theguardian.com/artanddesign/2014/aug/29/frank-auerbach-painters-painter-freud-tate-retrospective  and Lenkiewicz http://www.plymouthherald.co.uk/Robert-Lenkiewicz-s-estate-settled-decade/story-17699462-detail/story.html in their separate ways took inspiration from the Dutch Master too and so did I, take a look at my Van von Maan painting below

van on sax oil sm

Van von Maan

 keifa hd

keifer

k c bloova

ken campbell

herman hd

josef herman

We live in an age where the ability to ‘draw’ is almost scorned (by some prevalent ‘successful’ artists and their agents) but it is deeply embedded in my psyche and I love drawing in the different ways I do. Over the years I’ve sat and drawn Keifer, Josef Herman, Steve Berkov, and others with Lord Bath, Feliks Topolski and Ken Campbell amongst my ‘sitters’. Oh and by the way, I do love rembrandt’s self portraits which put him up there as probably the best chronicler of the process of aging with their insight into his very soul, that goes without being said, burram saying it. And you know i do a fine line in self portraits misen th’ knows:

d’y mean pete kennedy?

best self portrait
this is ma best self portrait innit, catches the spirit widdin!

The skill was hard earned and am reluctant to desist. I shall draw til I die (drawing?) I draw cartoon like with my Apulhed-man, in surreal sketches with my Squidgerats. I draw inspiration too from the work in many media by those who have achieved before me. So I read folk like Philip K Dick, Vonnegut, Mervyn Peake & Brautigan in the hope that some of what I see may rub off on my outputs.

And it’s the same with poetry, although I write my ‘poems’ from a deep sense of apart-ness I don’t try to write ‘like’ anyone (else). But I am inspired by some. I write intuitively I write what comes and I don’t try to write in any grammatically ‘correc’ way. Interestingly when I wrote the ‘poems’ for Inside This Earthen Vessel they had little or no full stops nor commas. As I began the collaboration with david Jury some punctuation crept in but often I do not have it in my writing (like I do not adhere stricktly to ‘correct’ spellinks). Both of these avert-tions allow me to be free(er) and (more) inventive.

I am reading Beckett’s translation or transmutation of Apollinaire’s poem ‘Zone’. I don’t exactly agree with his changes, great writer tho he was, but I do note that Apollinaire has used no punctuation. A WRITER WRITES WORDS. So my punctuation in  Inside This Earthen Vessel is the gaps I left. I write this thought then I stop & drop to the next line. Often in poems they start each line with a capital. OK that’s fine, that’s OK, I can do that, but sometimes I refuse.wrtiting for me is to do with the jist, getting the gist, of things (tings) of ideas, notions, suggestions… my writing is not scientific like Wittgensteins is was etc.

For me writing is communication, getting what’s in my mind, spirit, soul, experience or view over to others. Some may say that I might communicate better if I spell by convention, punctuate & grammaticise my pieces. OK you’re entitled to your opinions and your conditionings. I am free of those constraints. And I hear you laugh or snigger and say ‘Yes, free of income, free of distribution through official channels, fields etc. But see this face, AM A BoVVad.

 

NEY*

(can’t he even spel nay reight?)

he neighs like a donkey

do they

neigh

nay not never

nay mare

nay

tha’s not ritten

an udda poym

lad

?

who fetched the cow?

nay not eye

norri

nor I

 Next weak am in Oxferd to see a bloke gie a tork abArt William Blake, now there’s a proper poet bloke man. And an etcher?

*I bought an lectric typewriter t’other day, I just decided that this will be the first poem I type using it. I thought I’d try my fingertips at tie pin sum concrete poyms. Just like what Henry Chopin and his lot did. Vache dis spaced oot.  https://apulhed.wordpress.com/2014/05/01/henri-chopin-and-others-who-got-forgot/

A Happy Man.

A Happy Man.

Sandwiched

Between

Nancy & Sam

Pete Kennedy

16.11.2014

 i am dis orfan

‘tangajorsarpaq eye am this orphan’

 Am rejoicing as the week has arrived for two trips into the Big City o’ Londres. I went up yesterday for a full filled day at the Poetry Library where I saw our work in such good company and two bee sandwiched between two such great practitioners as Nancy Campbell & Sam Winston was indeed a privilege. I was of course looking at werds; my verds watti wroted (not like Roth did) and David Jury printed ‘em, Nancy’s words, sam’s words, then loads of others’words like- Gaudier Brezka, Ezra £, Diter Wrot, jon Cage, Gins-oak-burger, Jean Cokatoe (I love her sketches), and many more. However you can’t go see it even ift you cry, it wer only up fer one dae. So am putting some small photos in this blArt to show you what ya mist. And I did this bit of nonsense using up werds wat I sore.

a sam

 I wer particularly inspired with Sam’s work, ‘Orphan’, in which he used a lot of words he had rote and cut & pasted. So I did the above cut & Baste misen. Eclosion means summat to do with changing frae a pupa to a angel, I tink the transformation has begunned. I invent a new word from a bill stick on a Paolozzi muriel at Tottinghen Caught Rude tube station, Ekanity

,a ep eka

it’s a bit like eternity but a bit longer, or shorter, who dares? I have finally fully launcehed misen into the muddy pastureyes of the cut & Blast, some o’t werds cum frae BLAST. Thur’s mad in yer eise Einsteye, Eisenstine, Eyesore, eye eye, oh begorrah bagum.

a mud vison

Then at 8pm 3 poets began to read their reactions to what they had seen in the boxes of books prepared for Sunday’s display. William Wyld went first and did a tribute poem to one he’d seen about mud. I loved his words about a reluctant rebellious recalcitrant seal melting into the snow, ‘You took my claws but you couldn’t take my head’. Then Patrick Brandon read his words inspired by John Cage’s Silence on Rauschenburg. Then he did one filling in the gaps in Tom Phillip’s Humument with words like, ‘What is life other than matter complicated by time…’ In my poem in the exhibition I also refer to humans as energy. Hilda Sheehan talked about life and death too, I suppose poetry is lots about our mortality. I enjoyed her Kiss.

She too referred to John Cage’s Silence. Her poem went

Silent

it just

dis

ap

peared.

It was a poem for Georgina, after holding up a tiny piece of tangled wire Georgina had made and hung silently last year:

I’m impressed with your strings

Hung up like mirrors

Shhhhh…

silence

 

Shhh… let these (very small) images tell the story.

 a cam 3

Nancy’s beautiful Icelandic poema cam6

Nancy uses Inuit words for love (I tink)

a set

Pete & David’s collaboration poems

a i am

I Yam a Seeker of Toots

anex2

Pete next to Sam’s poem

a sam2 a sam3

How Sam plays in clouds

a ep9

At TotCort Rd the mural needs replenishing

 a pk4

Pete auditioning fer Egg Heads

When I went doon to Oxford toon

Just gate-crashing two ‘parties des chimpanzes’ doesn’t make me a member!

 I give up. No, that does not mean I am giving up but I am stopping chasing & struggling to get ‘noticed’, the forlorn hope of breaking thru into the in crowd (who wants to rub shoulder with the likes of Blokeney, Ermine, Buerst and all?) in the ‘gallery’.

In 1975 when my assault on the walls began I could maybe have been called an angry young man cos they wouldn’t give my work the light of day even tho many folks loved my product. Then, over the tears you realise ‘they’ don’t know more than nor even as much as you, they just (maybe, probably) went to the right school, just like the politicians who run the show. And talking about the right schools. I have a bone to pick with the Bodleian. (Ian Watmore on leaving his post of CEO at the ‘dysfunctional’ F A is reported to have referred to it as a chimpanzees’ tea party, which is similar to what I saw in the two Oxford places I visited this weekend. Only chimps are invited to tea, not chumps like me!)

The wayzegoose book fair was a pretty useless flop for me and Wendy, except for an opportunity for me learning what i need to do to improve etc, no sales.  Overall Oxford trip wer a good experience really, with some downs. Had to fight toot & tail to get into Bodleian on a reader’s card. And altho there are Kafkaesque aspecs to the Bod set up, once inside the Bod I was treated really well by the librarians who ran around showing me how to find things. I also have to thank Alan Brown for all his help getting me information about the collections and the way in! I LOVED seeing some of the Rot then Keifer buks, I now KNOW where my main thrust must be in future. Collaboration with DJ will no doubt bring more out of me in that ‘ancient’ vein if he can stand the strain of working with this idiot, but my next few buks are a return to my theme of original, surreal and unsettling subversive stuff. I see myself as an under-miner, a sapper really, but do those I sap see me as a sop? That’s good cos i can catch them unawares. Funnily i got 4 ‘likes’ overnight (6 now, thanks to all of yez that ‘liked’ this blArt!) for a pretty wingey blog, plus one ‘follow*’, all of which adds to the circle I am creating of interested parties. Thanks Maureen for saying this is humourous & informative too!

* You know if you press ‘follow’ you’ll get notified (not certified) of all my future blArty bits. Tread carefully won’t you. It appears 34 folks out there follow this  heap o’ thorts. Tank yez all, makes me feel good too. Makes me feel that all the effort what goes into doing this weekly blarting is getting thru, at least to 34 folks in this wide wonderous werld.

http://www.southbankcentre.co.uk/whatson/the-material-word-the-6th-poe-86763

The Poetry Library at Southbank will be displaying the collaboration book in November. Altho there is a question flying around, can you see it? Is it a book? Is it a Blogger? Is he a Flybyniter? Or is he just a Fly Writer or a Flawed Bloke Flying by the Seat O’ his Pants? Well, the question whether my book of poems done with DJ is a book or not is surely already answered in the article I did for The Blue Notebook Vol 8 No 2, April 2014 Lucy Lippard’s Activism and Artists’ Books Activate Me. ‘To codex or not to codex’ that is the question Lucy Lippard’s loose leaf catalogues helped me solve. The article considers the need or no need to bind sheets to make a book. It comprises a brief summary of Lippard’s talk Exhibition Histories on 11.04.13, a consideration of B. S. Johnson’s book The Unfortunates, the work of Don Celender in the BABE show in Bristol’s Arnolfini in April 2013. Also, an introduction to some of my own artist’s books some of which incorporate loose leaves.’

My boxed artist’s book called Apul-Gold Metamorphosis with careful attention to font size as well as considering paper, dimension and feel. It has alternate card and semi-transparent pages. The box is black with gold around the edges resembling an old bible but when opened it is more like a jewellery box with felt surrounds and gold ribbons.You can turn the loose pages which are, ironically, sequential because the holes in each page grow gradually to reveal a golden (moulded plastic) page with words on sculpted from twigs making the ‘word’ material or ‘real’. Behind this sheet is the final surprise, a sculpture of Apulhed.

jo 080Left- concave sculpted face, right- word as material object, on penultimate page.

Also my most recent book adorned with castor oil leaves on front and back which opens like a ‘normal’ book but inside houses seven prints in a pouch which are ‘bound’ in place by two strips of leather. All of the materials used were carefully considered to show textures and colours which resonate with the subject matter inside- the story of six mystics and their words (which is a precursor to the new books ‘Inside This Earthen Vessel’) kept in a pot like the Nag Hammadi scrolls .

bukartobjet 002

Both of my bookartobjects were made with the clear belief that books do not have to be bound nor sequential which Lucy’s catalogue laid the foundations for with Johnson’s book adding more weight to the idea being published as a book in 1969.

So am trying to say the codex ‘bind’ was a late entry, there were other forms of bind long before it; potis, copper rings (we used brass rings to ‘bind’ the new one at Whitechapel), scrolls, metal amulets, steles just to name a phew!

bod wow cloud

The Bodleian is an amazing ‘national’ collection not open to hardly anyone, not even scholars like myself unless they can prove they cannot access the stuff they wish to see anywhere else. Now there’s a ting. If you have an ISBN on a book you have to send a copy (free) to the Bodleian (and several other libraries), but we (plebs) cannot gain entry to the Bodleian yet it houses an uncanny stock of mint condition books, as you can imagine, cos if you have an ISBN on a book you have to send a copy (free) to the Bodleian! So the Bodleian houses several books of mine yet under normal conditions I cannot access that library. I did after several phone calls and lots of bits of paper manage to gain entry for two days which was the saving grace of my weekend in Oxford. So after all I am pleased I left a donation for their collection of my new book, Inside This Earthen Vessel, although I really wanted to show it to Alan Brown first before the woman who allowed me a 2 day pass whipped it away rather hastily before telling me that I had to pay for the privilege of entering the collection. Now my book sells at £15 and I tink she was after £6, and I pointed out that there is a hardship clause in the rules and I am hard-shipped (I have no wage, no income source, that’s not a weep it’s a fact). “Do you have evidence of your benefits, entitlements & allowances?” No cos I don’t claim any but all I have is a small pension, which in fact obviates any entitlement i may have. I wouldn’t wish to have a state handout any how, I prefer my freedom to be poor yet not have to look over my shoulder to see if any ‘benefits spies are watching me. As it appens, Citizens Advice worked out that because i have a small pension I would only  be able to get £12 a week from the state even though I was eased out of my 10 year job cos my body had contracted RA, no not the other chimp’s party at the Woyal Acawemy, no I got Rheumatoid Arthritis and after its worst stage was over and a series of heinous drugs had given me ‘remission’ I would not be able to hold a teaching job with all its stresses and strains and i wouldn’t get one anyway cos am too old and am nearly 64 which made me not old enough to gain a reader’s pass free umph, am not bitter I stopped drinking 3 yearns agonow am back on dandelion & burdock. “Doesn’t count cos here its 65 and I can see from your d o b yer under age you’re only 63”. Well am 64 in a couple of weeks. “Doesn’t count”. So I said maybe I should charge yer fer me buk? “But you just gave it to us”.

pk selfizeebugthe bug in me

However, I spent several hours perusing books which very few had looked upon, so I s’pose I should be happy. For example, a 1966 copy of Dieter Roth’s Mundunculum, numbered 1 of an edition of 122, seems like it has never been opened. Intriguingly this copy has been given a dark blue traditional hard back cover, so totally unlike anyting Rot did, so far out from his way of working that it’s actually good! It’s a bit like be-knighting Michael Jaggerd. You see, Rot is his name and Rotit is his nature. Rot the lot of it seems to me to have been his modus. He undermined everything, even his own work. Picasso did the same. Only Rot’s Progress was unchecked. His earliest work was exquisite, much like Vasarely, with words as concrete poems thrown in. Not a lot of people know that, or care, cos as time went by Rot’s own denigration thru his work of his work stuck and others, those who decide the canon, couldn’t ‘get’ him so they ignore him, so you don’t tend to see Rot next to Appolinaire and Picabia in the annals of concrete poetry(?). And anyway that’s the way he would have wanted it, I tink. He undermined, he dug the dirt, he pretended to be ‘logical’ like Wittgenstein but in fact he was being anarchic like fluxus.

ox logic

mind Rot don’t trip yu up doon Logic Lane

His Mundunculum says it has a correlation tween sign & letter, but does it? And when it does he undermines that too by giving it extra layers. I think I know what drives an artist tinker to be so unhelpful, I do it myself, we don’t wish to be understood I think I know what drives an artist tinker to be so unhelpful, I do it myself, we don’t wish to be understood and if in a moment we feel some are understanding it we shift. I know it’s stupid but I can’t help it. It is part of my personal insecurity which is part of my inbuilt nature acquired from my infanthood when tings were not so good I know Freud would have a field day but there it is. So in a way the artist is getting his own back, saying, well you made it damned hard fer me so I shall do the same fer thee. The role of art-Is is to question, but where the physicist and the mathematician will question with logic the artis can question with illogic. There is a history here, as with all things, nothing comes from nothing. I suggest Tom Phillips wer influenced by Rot and I see now, looking at Schwitter’s Merz werx, Rot wer influenced by Schwitters.

http://www.moma.org/interactives/exhibitions/2013/dieter_roth/works/mundunculum/

 drot mun numbd

But it was a revelation to me. Roth was working on this form of book in the 1950s and it seems significant that tom phillips called his book humument http://www.tomphillips.co.uk/works/artists-books/item/5286-a-humument

Then it got worse. I had booked a table at the Wayzegoose book fair in the ill-conceived idea that my collaboration with David Jury over the summer and the wonderful book he produced would steal the show. But no.

ox table corn sm

They stuck us up in the furthest corner of the event to which very few punters came (it doesn’t seem to have been advertised) and only a tiny percentage got as far into the bowels of Oxford Brookes to even realise our table was there hidden behind a big advert for another stall which was better placed anyway. I sold two postcards. My colleague, Wendy Allen, who made two tiny but beautiful letterpress books sold didderly squat (not a lot).

ox 010

So I learned a lot, mostly, that you got to be selective, very. Just don’t go to a place thinking you can change the scene. If they specialise in old school then they don’t want to see new stuff, do they, well at least they didn’t there.

 bzb light sm

Talking about new stuff, I have been producing what I call ‘original’ stuff since 1969, stuff what is new to most of the known world out there cos most of it only ever reached a radius of about 10 miles from wherever I lived. From now on in this bollogart artis blArt am going to be presenting, or re-presenting, my endeavours from the past 45 years. I shall upload images and ‘stories’ and views of others so you can at least see my work.i gave up pursuing ‘publishers’ years ago and did my first self-published book in 1975, a practice I intend to step up now. But don’t expect me to do beautiful books like Chris Rushton at Hadleigh books does. http://www.chrisruston.com/ No am not able to be so meditative in my production. My next few books will be bringing the backlog of book ideas I bin developing now since 1972; Apulhed, Squidgerats, Nonogons, Venus Stares, and all. Altho I do have one clever hexagonal ‘shaped book’ in mind as a development from the Inside the Jug series.

All images in this blog are mine except the copy of the book by Dieter Roth, I hope that his foundation do not mind me putting it in as it is flagging up the wonderful work he did.

 

‘Inside This Earthen Vessel’ Poem 6 Shaman Beuys

The LABF at Whitechaple begins this evening. http://www.londonartbookfair.org/

For those of you who have been following my recent blArts I just had a realisation. In the page about the Dalai Lama David Jury in the subtext picked up on the parallel between my being an expat from Burnley and the DL having been exiled from Tibet a notion which reverberates thru that print. I now see most all of the six men in my poems had to run from something. We are all are just passing through.

 

  • Gurdzhiev was a Russian Orthodox Christian native of Kars which was caught up in a fight between Russia and the Ottoman Empire. His father, a peaceful story-teller, was murdered by Turks during the Armenian massacre which some call a genocide.
  • Hermann Hesse was exiled from his native Germany for standing up against the Prussian military swing to arms which manifested in world war 0ne. Hesse was already famous and the authorities did not like his stance, he felt obliged to shift over to the mountains of Italy.
  • Tenzin Gyatso is still exiled from Tibet after fleeing from Maoist force in 1959.
  • Scheffler was a monk from Silesia who switched from Catholicism to Protestantism and back to avoid the attentions of the Inquisition after he wrote his inspired poem called The Cherubinic Wanderer.
  • 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.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) Jung + pipe
  • Pete Kennedy is just an Idjet in a Jug hiding from the ladies in Burnley what want to talk to him about all sorts of promises he made in his youth and did not no way never keep and who looks a bit like old Jung but hasn’t got his pedigree!). a odorkapul sans dork
  • Joseph Beuys, a Celtic son of Cleves, was running from his Luftwaffe past.

 

Poem 6 Shaman Beuys

‘Don’t mention the war’ said another satirist who, when he Cleese…d, his hair shot off. Joseph Beuys had a life before he became an artis. His first life, in the Luftwaffe, ended as he catapulted thru the glass between him and the outside. David deliberately paralleled Beuys bursting thru the screen with the pot bursting as it hit the ground in his final page of the poems. The subtext mentions no safety belt. A pot don’t wear a safety belt so the mention seems odd, but it refers to the fact that Beuys said had he been strapped in, according to orders, he would have been annihilated like his companion was. So once he recovered from a broken jaw and a burst skull with the help of (allegedly) some Siberian peasants who covered him in grease and wound him up in felt he forewent the Nazi cause and spent the rest of his days, not wearing any safety harness, attacking the powers that be and trying to establish a better world through the example of his outputs which, like dada after the WW1, totally rejected the maxims and mores of the previous ‘leaders’. (Phew that’s a gobful! Innit?)

Last but not least that Celt Showman what is called Jo Beuys. My mention of Halstatt & La Tene refers to large Celtic communities that dominated the landscape in Europe around 3000 years ago. He hails from near Cleves, where the Swan Castle (the Schwanenburg) still has a golden plated swan as a weather vane. http://celts.etrusia.co.uk/celtic_cultures.php I find their art & artefacts are a beautifully robust craft. http://www.pinterest.com/viziglar/hallstatt-and-la-tene-cultures/

 

Beuys refused to engage in painting onto canvas and other traditional methodologies preferring to make installations & personal appearances with demonstration and talk about his nutso crazy ideas. He used metaphor and analogy to convey his ideas which were often embodied in his materials.. he attracted attention by wearing a wardrobe which defined him and in which he could carry a lot of his artefacts, and chalk, for doing his blackboard talks.He used fat and felt as sculpture material breaking the codes of traditional materials like carved stone and moulded bronze tho he did use these materials too but more in juxtapositions of ‘found objects or objects totally out of their usual contexts. He often referred to vortexes, energy streams conducted by various materials like honey, messages carried by bees, he communicated with dead hares and live coyotes. He tried to make amends for Nazi atrocities by joining Eurasia up with his actions and outings and somehow over-riding the fact that he had been a Luftwaffe airman who survived an plane crash. DJ parallels Beuys bursting out of the plane with the Buddhist story of the broken pot which I mention in the sub-text when I said ‘I let go and this humble vase returns to dust’ ‘it bit the dust’, which is not all used in the text. This was a completion of the circle as the six poems begin with a title, ‘Destination Dust’ a reference to the fact that everything eventually returns to the original source, energy. So even the subtext move around, whereas in the first pages it is flippant and mundane by the final page it has grafted in to the main text and apart from the black humour of Beuys bursting thru the glass has become serious, considering human frailty and mortality.

ves 6 sm

The chant from the terraces which I heard as a young teenager brings the subtext into the main text inasmuch that my home town Burnley reached the quarter final of the European Cup and we did thrash the Germans, in the first leg, but Uwe Seeler and his bigger brother knocked us out in Hamburg. But McIlroy really was better than Eusebio, well nearly, he was part of the team from Northern Ireland which got to the quarter finals of the World Cup in 1958 and (not a lot of people know this) their manager Peter Doherty was my dad’s hero and I were named after him.

As manager in 1958 Doherty took Jimmy McIlroy and N. Ireland side to the quarter finals of the World Cup
As manager in 1958 Doherty took Jimmy McIlroy and N. Ireland side to the quarter finals of the World Cup

Here endeth the intro to our new books.

This was a meeting of two minds who have been ‘doing art’ for 90 odd years. Well, odd in my case, meticulous in DJ’s. For David is an ‘artist-dervish whirling around at the wayzgoose with his tweezers teasing new meanings from my words’ when it comes to working a press

For those newcomers to dis blArt the ‘poems’ in ‘Inside This Earthen Vessel’ were inspired by Kabir’s poem ‘Inside This Clay Jug’ sung by the late Jackie Leven https://www.youtube.com/watch?v=BfiKUhS1cnI . Someone asked if my writing (in the book G Batch which underpins these new versions) deserves the title ‘poetry’? Well, it’s a beautiful question. A real poet would not have the temerity to call their words poetry, that is for history to decide. Catullus, Patchen, Angelou, Blake, Bukowski & Stevie Smith all deserve (in my book of tings) the nomenclature. No, I write, I set out some of my words as prose, some as attempts at ‘poems’ or as I used to differentiate them ‘poyms’. There is a debate about whether folks like Bob Zimmerman, Mark Knopfler or John Lennon’s words are ‘poems’? Ask Picabia or Jarry about what makes up a poem, don’t aks me.

So, if I were aksed to put what the six ‘poems’ are all about I’d say first and foremost they are an appeal for humanity to live harmoniously in peace. They show six men who represent the cultures of most of the prominent human groups. They are against dogma. The poems all represent human beings who had the balls to look at the human situation and to be brave enough to stand up and say their piece almost always standing up for the individual and their right to think and make up their own mind. The poems are my personal insight into mystical knowledge as represented in six different thinkers whose lives and work had impact on a fair number of others to this day. My poems say that, contrary to the widely held view, mystical insight is an expansive subject open to everyone. Also inside the pot (earthen vessel) is Joy & Humour, Music & Dance. Mysticism runs like veins of gold (Blake’s golden thread) through human cultures and can bring many people together when they understand we are all striving for the same thing, which is to understand why we are here and to appreciate the beauty which surrounds us on planet Earth. ‘Stop The Killing, Stop The Killing NOW’ said John Lennon before some tramp shot him. Imagine that, where is John now? He’s out there following his vision of ultimate reality and laughing his cosmic chuckle just like the Dalai Lama does. Namaste.

Let’s waltz again with Lenny:

https://www.youtube.com/watch?v=Y-E53gmeO-8&index=5&list=RDye6JssTdnvw

Peace Be With You.

My Next Blog, how the 2  ‘vessels’ buks (mi littul one and DJ’s Big Y’in) and paraphernalia were received along with several other David Jury gems at the Whitechapel, 26 thru 29th September? Maybe see yez thur?

David Jury has completed the letterpress version of ‘Inside This Earthen Vessel’

They tell me that ‘social media is most popular tween Mon-Wednesday? That’s not what hits on my blog tell me, Saturn & Sunday were by far the best shots this past week. And anyway, am on a mission. Am preparing folk to see the books at the London bookfair. Now Last time I covered the first 3 poems in letterpress versions by David Jury. I have now written on the next three, but I got busy and there’s a lot o stuff so am gonna spread it over tree blogs. That’s anutha ting they say, folk don’t want/go to blogs etc what have loads o stuff on em. And I am not finding that true. Folk seem to like the stuff watti rite.

OK sunday 14th, BANG GOES the idea that social media is most visited Mon thru Thors-Day!! This post which was put up yesterday, note a Saturn-day notta M-Thday,was ‘visited’ 44 times before sunadae began, with hits about even frae the USA and Britland. plus one or twa frum India and Aussidownthur. In my stats, it’s sat thru Tuesday what gets most visits. wed an thurs were lowest with 1 and 6 respectively. (Used to buy 10 woodbine with one and six (pence) forgive me young folk you don’t remember the old coinage, forgive me god fer smoking, luckily I givved it up when i wer 18, it slowed me doon on th’pitch!

One lady walked past me yesterday and she said, ‘I really enjoyed your blog this week.’ Somewhat taken aback, I didn’t realise she read it, I was able to show her DJ’s wonderful work, and she loved that too. Sorry I cannot shew it to you in the real form, only digital, but then you don’t feel the feel which is so vital. How can a digipic give the feel, the scent, the breeze of satisfaction as you look at something so tactile? Difficult one that. And tactility is a big part of an artist’s book book, innit? It’s a big part of what makes an artisbuk DIFFERENT from an normal book, even a normal book on a artis. I mean, some normal books are lovely. I am a book addict, book is my ‘habit’, I buy book everyday, mostly from charity shops as I cannot afford to pay shopnew prices. I have hundreds nay thoosands of books. Somebody suggested this week I should even be a ‘social media slut’ (slut, an interesting word) but am already a bookslut, I have a glut o buks. Many of them my own what avent sold (yet). I done this drawing a while back of an artisbloke wat looked like me pushing a barrow of remaindered books. Wonder if I can find that to show yez?

a idjet pushin books smkban idjet at large

Soon after i posted this blArty bit an ole fren sent me a little poem, notice how it takes the shape of a pot. Is everyting gon potty? :

Wheeliebarroh Man
D Walker

Wheeling and whirling

round an around,
the wheelie boy
with house on his hed
moves slowly and serenely
across our mind,
so smooth and silent
that we wonder if
he was ever there.

Anyway, different or not you still need to sell/promote yer output, no matter how good it is cos it won’t shift from yer shelves iffen yez don’t. So bear with me on this prolonged sales pitch.

DJ has now completed his letterpress version of my book Inside This Earthen Vessel which shows his exquisite use of what he calls in his most recent commercial book ‘the visual language of graphic design’. http://www.davidjury.com/various-publishers/before-graphic-designers.html  and we have series of postcards, poster and all ready for Whitechapel nex week, 26 – 28 September 2014. http://www.whitechapelgallery.org/book-fair/the-london-art-book-fair/the-london-art-book-fair-2014

 

It would be a good idea if you read my previous blArt first before this. https://apulhed.wordpress.com/2014/09/08/the-letterpress-version-of-inside-this-earthen-vessel/

 

In it I mention ‘spirit’ and I need to start this blArt with a little (?) question about existence and spirit, don’t I? Some may tink this has nowt to do with DJ’s beautiful letterpressed book, well in fact my original (little, not letterpressed) book of the same name is all about spirit really. It’s a metaphor for what is inside the jug which is a metaphor for the human body, or is it? I think it is.

*Spirit- there is a debate about ‘spirit’, whether it exists? Could exist? etc Of course in a material way it is impossible (for spirit to exist) without a body or some physical ‘system’/substance. There has to be some material sunstance for proof of ‘being there’. The human has blood, heart, eyes etc. A mountain has physicality too, some say it has spirit, like the spirit of Apu in the mountains of the Quero peoples of Peru, Mount Fuji and many other examples of the local folk attributing ‘spirit’ to a mountain. And then there is the Question about existence before the Big Bang? Was there a Mind? Is there a Mind? Is Everything a Mind? Mind you, I’m not so sure. Yet I think therefore Am I? And inside this body, this jug-headed entity I call me, there seems to be a mind, a thinking entity, which will undoubtedly, without exception, stop operating in the physical world when I die. The big Question is, will it continue elsewhere, to somewhere else? To Spirit on, that is the Question?

 

Poem 4, The Silesian Angel, Johann Scheffler.

Like William Blake and C G Jung after him Scheffler seems to have had access to the hidden knowledge sometimes known as Gnosticism. http://ancienthistory.about.com/od/heresies/a/Gnosticism.htm

These had become, ‘secret’ or underground when the Christian church was changed in the 4th century AD and organised like the Roman army under Emperor Constantine who had been converted to it. Men previously competing in the groundswell of ideas which milled around the Middle East in 300-400 AD found their ideas had become ‘heretical’ after the Romanised church declared that they had selected (only) 4 of the many extant gospels, the rest were ‘binned’ so to speak. In the case of Pachomius who lived in a community of hermit monks (sic) their ideas came in the form of books collected from the then known world including places as far away as India. Like all pogroms* this new (Nicene) Creed outlawed thinkers whose idea did not toe the party line. So  Pachomius and his mates felt forced to hide their ‘library’ in a place called Nag Hammadi in Egypt where it lay, in earthen pots, for near 2000 years until re-discovered in 1947. http://gnosis.org/naghamm/nhl.html

(*the word pogrom comes from a russian word meaning like thunder, pity, if you subject a group to a force like thunder it’ll backfire, natural law)

David Jury has enlarged words like Nag Hammadi, and Logos to emphasise their importance in my text. He also makes the songline ‘Are We Humans Or Are We Dancers’ big. To do this he was real pleased to be able to utilise wood font which he had collected but never printed with over the years. David’s eye for composing the page is marvellous and we have done a full colour ‘poster’ with the layout so folk can see the masterly way DJ wields the letterpress tweezers.

The words Scheffler uses in his epic poem The Cherubinic Wanderer certainly have a Gnostic ring to them flagging up his ecstatic direct link with his god. This god he sees as the source of all things which is lodged in the centre of the human and the human is lodged in the centre of the god, the two Sheffler says are inseparable, they are One.

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