Category Archives: synchronicity

Moonbeams on my pillow

Final prep for Society o’ Bukbindas (SoB).

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 [PA] I have discovered a way to animate my vision. What on earth is this PA some of you may say and how come you are doing it? RoseLee Goldberg, in Performance Art. From Futurism to the Present, says

‘…the very presence of the ‘performance artist’ in real time ‘stopping time’, that gives the medium its central position. In the first decade of the 21st century PA is at last being folded into the history of art, moving from the margins to the centre…PA continues to be a highly reflexive, volatile form- one that artists use to articulate and respond to change. It continues to defy definition and remains as unpredictable and provocative as it ever was.’

As I said I always looked for a ‘difference’ and PA gives me the opportunity to make a difference, as well as making books and all my other ‘art’ stuff. I got into it back in 1973 when a friend called Chris Leonard asked me to do an Apulhed Mask Show in the drama theatre at college. I tend to do a piece of PA at the start of each of my 25 or more exhibitions but now I have caught the bug and my PA is as important a part of my output as anything I ever created. It panders to the actor in me, the show-off, exhibitionist and all that stuff we usually hide. I feel I can achieve the impossible in PA. The impossible not something like flying or walking on water but things I would not do as a rule. Recite poems, dance, mime, wear a dress, wear a Tibetan Monk’s yellow hat, all crazy things I’d avoid normally cos deep inside this shallow disguise is a normal man, I’ve yet to find him though.

RoseLee Goldberg’s book entitled ‘From Futurism to the Present’ gives clues as to how long PA has been around. For me it began with Alfred Jarry and in a way his work has never met its equal. Everyone after that was re-framing what he did but don’t misunderstand me, there’s been and still are some really wonderful PA creators. And she is correct in saying that it has gradually entered into the thoughts if not building of the gallery. PA isn’t exactly easy to sell. So Saatchi for one may have had difficulty harnessing it for his collection. That’s one of the great appeals of PA, it hasn’t been strangled by the gallery, yet. I am in a lucky position. I am now an OAP, I’m retired from my day job and I don’t have to ‘do’ anything. But I choose to make books and PA cos I feel I have something, garnered from my 50 years trying to ‘make it’ as an artist bloke, which I can bring to the PA place. What’s that? Well it seems you can do PA almost anywhere. This week (ending 27Feb2016) I did a small part of my new piece in the foyer of my sports club cos someone asked me to ‘Do it here for me, right now’, so I did. And that broke a duck. I hadn’t dared do it like that but as I was asked, I did. And a link in the shackles dropped off (Ta Lara Ann!).

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 oral thing into a physical thing?

At first it was inscribed in clay then a variety of different grounds were tried. We are now 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?

1 treeking sm

The bark mask is typical of my creative process. I conceived the idea of using tree related stuff to create a mask because we make books from trees and I began to make it using materials which 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. Purportedly the Tree Sprit brings with him a warning about the need to be Eco-Friendly. But as with all symbols and signifiers there’s a lot more to it than that.

And there’s more to PA than finding difference and exhibiting one’s prowess in becoming the book! PA is a forum for protest and complaint too. I have a gripe about the men, it’s almost always men, purportedly to be ‘world leaders’. My gripe goes back past world war one and forward to present day when these jerks ‘lead’ [from the back of course, in safe bunkers] the country to war.

 

https://apulhed.wordpress.com/2015/01/25/the-worlds-wound-or-the-worlds-wound-up/ In this blog (above) on 25th Jan 2015 I spoke about Putin taking Russia down an unfortunate old path which the Tsars & Stalin used many times in the history of that country, I said:

 

“Putin needs to be given an out, a chance to climb down, to admit a mistake and a chance to heal the damage, before it escalates into a catastrophe. The ‘world ‘leaders’ are complicit. They are in danger of engaging in a 3rd ‘World War’. STOP. See the comparison between Ukraine 2014 and Serbia 1914. Be very careful.”

Since then I have met a Ukrainian who reminded me of the terrible incursion Russia has made into that independent country killing some of the person’s friends AND RUSSIA IS STILL THERE. Putin is also involving in Syria supporting Assad and bombing groups of Syrians who are combatting his (Assad) regime’s heinous measures against Syrians, 11 million of whom have fled. Stop the killing now your madnesses. lennon an bombs 2 snowflakes smmy image of my Uncle John making snowflakes out of bombs (so they shot him 5 times)

I hope that this peace brokered with John Kerry and Russia is the ‘chance to climb down’ I mentioned above cos the war-path is a bad trail to follow. I won’t say ‘ask Blair & Bush Jnr’ now cos that’d be too obvious.

So, back to my PA at S-o-B this coming Saturday, a lot happened overnight! I awoke having decided in my sleep to actually make this PA easier to comprehend for the S-o-B visitor. A lot of PA uses few if any words. The artist just does the piece, no words nor explanations, it its purest terms. I have decided to give an ‘in’ to my actions. I shall talk thru the first couple of stages, explaining where (I think) I’m coming from.

Finally I had a wonderful experience as I awoke at 05.10 hrs today. I looked down the bed and saw a stream of light along the length of my body. A bit like the white line down the middle of the road illuminated by those old cat’s eyes. I knew I was in bed not on the road. I looked up and saw the curtains had a slight opening in them and the halfmoon was peeping thru the gap sending a beam of light over my body. As I stood up it was down my bed and up over my pillow. I love synchronicity, Jung is one of me six ‘wise’ men in the poems in my Clay Jug. Let’s hear the Captain sing one of his most beautiful songs. https://www.youtube.com/watch?v=kjazg_lTfJA See you on the end of the rainbow in Kentish town on Saturday 5th March.

http://www.theguardian.com/music/2010/dec/18/captain-beefheart-don-van-liet-obituary 

Bless

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My German ‘gHosts’.

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

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

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

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

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

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

Michael McKell lino cut, black & brown

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

a The scale is the result of the dance

my portrait of Anselm Kiefer

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

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

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

Bauhaus; Klee, Schlemmer

Post war; Anselm Keifer, Dieter Roth and Joseph Beuys

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

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

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

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

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

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

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

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

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

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

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

making the point

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

 

The Metamorphosis of Duncan Walker – Releasing the Spirit

No. 1 in a series of the work of pete kennedy, artistwriter bloke, b.1950

Painting by Pete Kennedy

With notes by PK & DW

So, I am starting the offering up of my images from 1968 to now for y’all to see. I shan’t be so mundane as to put them in chronological order. There’s so many of them and the quality is not dependent on age, neither mine nor the works. Some of my best work was done in the first few years of my life after I made a conscious decision that making my art in my own way, or so I thought. My output was often then and still is now really effected by my circumstances. So, the availability or lack of availability of resources would temper my technique. Time has been a big element in my output, for all the reasons you may imagine. (If you click on the images they will pop up bigger so you can peruse them better.)

Duncan and the cosmic egg

This portrait was created at the height of my ability, it is undoubtedly one of the best. The sitter, Duncan Walker, I had known since we were thrown together in the first team in the first week at our secondary school. We had drifted in and out of each others lives. This was me deliberately creating something which held all my values and skills in one image. It’s a triple portrait. A photo which I took and developed and printed, an oil in my style which had taken several years to reach and a ‘squidgerat’, one of my weird creations which were often an insight into a sitter’s deep essence. There is also an appropriation of a Dali egg cos I knew DW had in one stage of his development really loved Dali’s work but more importantly it signified the crack in the cosmic egg, something which we would have discussed during our alcohol filled ‘discussions’. That search for meaning behind life’s charade had been going on for both of us in separate ways and this was a coming together.

 dw paintd

 The figure on the left is Duncan in intense meditation, looking inward, considering and knowing the other stages in his life. (I sometimes see light hitting my images and adding more to them than I had put in to them in the first place. One day I shall incorporate light into finished works physically.

 dw foto sm

The figure in the middle is Duncan enjoying worldly delights, with a mischievous, knowing smile about his inner self. (Note the notes in handwriting collaged onto the image!)

 Dw squid

The figure on the right is Duncan’s inner self, achieving a crack in the cosmic egg of worldly reality, at the point when his spirit is flying out at the top of his head from a lifeless shell.

This is the story of releasing the spirit through a dual life of the meditative inner self and the electric worldly extravaganza of his outer being.

dj hopi cava

And about the same time as I did that portrait I wrote and published my little book, The Dull Jodrell. This was an account of some of the writers who had impressed me like Gurdjeff and Hesse. It had quite a bit about ken Campbell in too and accounts of my stays with DW in his ‘London’ house. The cover is a remake of my illystration of Hopi peoples dressed in their kachina outfits standing on the rock dwellings at Mesa Verde. In the book I talk a lot about the ideas of the pre-colombian populations of the Americas. The character in the centre at front of the cover is ‘Lighteyes’

lite eyes sm(this is the original sketch)

one of my squidgerats who I drew before I came across the Hopis who in fact have a character in their kachinas with almost identical stance to my man, uncanny! The Hopi kachina which is so similar to my Lite-Eyes was a human gifted with god-like characteristics whose previous human status is represented by him having cross-legs. The round thing on the Hopi character’s head is repeated almost identically in the round thing on the head of my Liteyes. I drew him prior to seeing any Hopi images, ever. It is truly uncanny to me. The strange head gear, which again, was drawn with no reference to Hopi, I had not yet heard of them, also bears a remarkable resemblance to some other Hopi headresses.

dj squigs in dj

The book also had some squidgerats drawings in as well as some I did of Ken Campbell.

ken campbell sm

This book and the image of Duncan show how my progress thru life has been accompanied by my ‘researches’ into real life characters and thru readings of books on Hopis and Gurdjeff which still continues today and indeed my recent work with the Jug poems is only a different way of trying to present my discoveries to a wider audience. Below is my new image of Duncansquidgespirit zooming across the lake next to a slow swan.

a duncan twa

Thank you DW for instigating this first of many(?) reports on my images & artefacts, and tanks fer the fotos of the work.

Footnote:My previous blArt aboot Oxferd toon got SIX ‘likes’, unprecedented in the history of this blaggArt! It sure signals up that some folks are getting someting frae the werds & images of this clown. Also 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.

And finally, nobody, yet no-one, ever ‘comments’. I can only assume that everyone agrees with all I say OR, more likely, all who dip into the blArty Bloke unexpectingly are numbed into a somnambulant state and then wake up several hours later wondering what hit them?