Tag Archives: hermann hesse

Inside This Earthen Book-Box Part 2

ITEB 2

Now I’d like to reveal my new ‘book-box’ with various parts of the Inside This Clay Jug project on display in it.

[I do not expect it to sell in fact on the contrary  it is my own personal gallery space in which I can house an important show about a vital phase in my output.

I have had many ‘shows’ of my output since leaving college in Exeter in July 1973. The leaving of college, like the leaving of school is an important juncture. Leaving school was for me as being born (again) when I dropped the manacles which had gripped me since first entering school aged 4.

The first hint or ‘show’ of my output was my buk Apul-One which said (to my school) “You no longer manacle me, I’m free as can be. I no longer had to acquiesce to the norm”, I could do it my way and I did, for example with the personalised phonetic (fonetic) spellins. As it happened in 1975 I couldn’t exhibit (in my ‘gallery’, which Apul-One was) the beautiful use of colour which my ‘art’ employed as that was too costly but I was able to use my B&W works. Those colours are now available in my ‘Shrewd Idiot Series’ of books recently self-published (2017).

The Inside This Clay Jug project is vastly different to the content of Apul-One & the ‘Shrewd Idiot Series’ which both appear to reflect my own journey through the early 1970s. Inside This Clay Jug exhibits and reflects upon my acquisition of knowledge in, what may be best referred to as, the realm of spiritual contemplation, my thoughts on the deeper aspects of my existence and my investigations into ideas and concepts a little deeper than the surface level at which most of us conduct our daily journey.]

1 isev buk box closed sm

The book-box is circa A2 in size & about 25mm in depth.

It is a ‘unique object’ which has the same cover design & material as the bound book version of ISEV, see ITEB1 in https://apulhed.wordpress.com/2017/07/09/inside-this-earthen-book-box-1/ .

1 isev buk box with open contents sm

Inside my ‘book box’ are lots of goodies.

There’s a copy of each of the books; G BATCH, Inside This Great Pot, Inside This Earthen Vessel (PK version), Inside This Earthen Vessel (DJ letterpress version) and the full set of 6 etchings from the G Batch master drawings plus the original poems printed on Japanese paper AND the tiny version of DJ’s ISEV.

1 isev buk box + 2 etchings sm

Here you can see the Jung & the Silesi etchings which are printed in sepia colour and have a tilted diamond shape.

1 isev buk box +sm isev sm

here is the PK version of ISEV resting on the DJ one, with a colour photo of one of his chases.

1 isev buk box sma closer view of David’s chase for the Silesi letterpress print

1 isev buk box +sm isev smthe other photo (we only recorded two) of the Beuys’ print chase. All six chases were dissed on completion of the set of prints.

1 isev buk box just open smAll wrapped in ribbon with DJ’s folder full of letterpress prints at the back

2 'Leaf Books' in isev buk box smFinally.

Possibly most beautiful of all?

A simulation of my two Leaf Books inside the book-box!

This juxtaposition may never occur, or I may make a book-box specifically to hold them together altho’ of course they must be sold separately because they are very expensive.

The 2 leaf books each contain six etchings from the G BATCH master series along with the six early poems about the ‘wise men*’ on Japanese paper.

G BATCH=*

Giorgi Ivanovitch Gurdzhiev

Beuys Joseph

Angeli Silesii

Tenzin Gyatso

Carl Gustav Jung

Hermann Hesse.

g batch vase sm

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The Riches Of The East.

 

 a penned mystic smIt may be said that Socrates was a rebel? He didn’t wish to follow no party line and when he was in 399 BC by 3 Athenian citizens of failing to worship the city’s gods, introducing religious novelties and corrupting the young men of Athens and told to renounce his philosophy in court, unshaken from his convictions despite being denounced as foolish by a large number of Athenians, he spoke,

“So long as I draw breath and have my faculties I shall never stop practicing philosophy and exhorting you and elucidating the truth for everyone that I meet…” (See Alain de Botton who says this promised him, ‘a counterweight’ to his own ‘supine tendency to follow socially sanctioned practices and ideas’ in his book The Consolations Of Philosophy). Botton goes on to say his ‘priority was to be liked rather than speak the truth. I didn’t publicly doubt ideas to which the majority was committed. I sought the approval of figures of authority and worried at length whether they thought me acceptable. but Socrates had not buckled before unpopularity and the condemnation of the state. he had not retracted his thoughts…he had [his] rational , as opposed to hysterical, confidence when faced with disapproval.’

All of my life, at least since I began to realize I was ‘here on Earth’ aged about 10 I have fought against that ‘supine tendency’. Maybe that’s what held back my progress in many situations in English society? My lack of conformity (or was it my face- it didn’t fit? or my choice of deodorant?) meant that I had to fight for almost every inch of ground I made.

Like Socrates I’ve been a renegade ever since ‘they’ rejected me at my secondary school, (‘they’ being the powers that be/the status quo holders who saw me as scum from a poor working class family who didn’t always agree with what they said) and I rarely if ever sought approval, especially not by altering my work and ideas. so, in simple words I paddled my own canoe. and my canoe took me to some strange and wonderful places, mainly in dream but also in some of my output. one renegade, the late great Jackie Leven, introduced me to Kabir and Robert Bly through his wonderful song Inside this clay jug. A lot of my work since hearing that song has been about the mysteries of life and mystical ideas. Some folk think mystical means ‘not for me that strange stuff’ but no, if you listen to Bowie’s music, at best, it has a mystical chime. It’s like searching for the lost chord and he found it sometimes like in Ashes to Ashes, China Girl and his last songs plus vids for Dark Star etc. Mystic is when you hear or glimpse that something which emanates from a place far away and deep inside you. Namaste. Om Mani Padme Hum. listen to Van’s Into the Mystic from his astral Weeks.

The wonder-full American artist Robert Smithson, who created The Spiral Jetty, on Great Salt Lake, Utah in 1970, was a renegade & a wordsmith too as witnessed in his Heap of Language sketch:

See http://www.robertsmithson.com/drawings/heap_p104_300.htm

and

http://www.robertsmithson.com/essays/heap.htm

“Smithson becomes exhibit A for the case that an eruption of the linguistic sign into art has fragmented beyond repair the traditional integrity of the object…” Thomas Crow in Prophetic Turns In The Life & Art Of Robert Smithson.

My writing also is part of my ‘art’, equally nowadays, as always, words play a role in my performance art. My 1975 buk, Apul-One, was a ‘work of art’ in its whole = images, words and book.

This renegade never did the obvious, rarely followed the rules and always bent them even if only a titsy witsy bit. Thereby he made it difficult, by not following the trend, the advice, the latest fad etc.

I remember going into Slade Prix de Rome scholar David Wild’s ‘life-study’ night classes and seeing a day student doing (copies of) hard edge American abstract painting by using masking tape to get straight lines on his canvas while I was learning how to observe and paint the figure. I made a conscious decision there and then I wouldn’t be doing no American abstract painting then nor not ever. (In fact a couple of years later I fell in love with Barnet Newman’s work in the big London retrospective of his work and did adopt some of his techniques, but in a way which used his ideas of fields of color which I then placed my images into with ‘zips’ (gaps) separating them. My images might be mimics of other Abstract expressionists set against realist images. So you see, I even broke every rule I set myself. The come uppance was that I kept my eyes open to different possibilities and I could be inspired by many things that the ‘mainstream’ art student would not look at cos it weren’t in fashion. Similarly, I liked Roy Orbison when the Beatles were all the rage, and Van Morrison when most folk hadn’t even heard of him.

Which takes me onto Hermann Hesse (HH), whose book Steppenwolf I saw in a Truro bookshop window in 1970 and on the cover was a Paul Klee painting so I was intrigued enough to buy and read it, so my journey into Hesse had begun. It was his writing which led me to the wonders from the East. Now when you looks at my recent works where I do things like poems inspired by Hesse and Dalai Lama you’ll agree they’re not the most fashionable icons nowadays, butti don’t care. It’s my art. Come back with me, to a day when the Upper Class (expletives omitted) led their campaigns for King & Country to conquer lands in Scotland, Ireland, Wales, South America, Africa, to asia minor & China they were, for the most part, looking for gold or jade etc and they gottit in abundance as they stripped whole countries of their inheritance. BUT in fact they missed the real treasures which eventually filtered thru to the west via the likes of HH and scholars who studied unknown languages like Hittite & Ghandaran. The real treasures are more lasting than gold, they’re spiritual. Things like yoga, tai chi, and meditation, the religions of old (like Hindu, Zoroaster) and in Tibet’s case, new – Padmasambhava brought Buddhism to Tibet in the 8th century AD. Insight into our place in the Universe is being enhanced daily by astronomy & science but we benefit from things brought to us by Tibetan Buddhism, Muslim Sufism, ancient Indian ideas about the cosmos and the place of us ubeings in it which they anchor down thru yoga, Chinese (&Malayan) Tai Chi does similar things with mind/body equilibrium. Who needs the gold that artists like Damien Hirst use?

on a better note

Here’s a lovely song of Bowies sung as a tribute to another renegade. Listen to her pre-amble, it’s lovely too

https://www.youtube.com/watch?v=zxGoZySud7k

getting ready for BABE.

So, getting ready for BABE.

You have a new ‘book’ Inside This Great Jug out in time for BABE, why?

pete's earthen vessel

Well, I wanted to complete the cycle of artist’s books which emanated from my love of that poem by Kabir Inside This Clay Jug. It’s the third version of the poem(s) and the last changes which I shall ‘publish’ as an artist’s book in an edition of 25. Although the Beuys’ poem I shall be doing at BABE has already been changed several times since I completed Inside This Great Jug. I have a version which I intend to use at BABE now and that is it! No more alterations or ‘improvements’! And I am shewing that to nobody before BABE, except in spoken form, in practice.

 

So it follows on from and develops the poems in your second book in the series, Inside This Earthen Vessel. What then is Inside This Earthen Vessel (ITEV) about Pete?

 itev cover

It’s about spiritual harmony, peace on Earth, goodwill, humankind(ness). It’s about some (6) humans  who sought to find harmony & answers then share their ideas (whose names make up the title of an earlier book in the series G BATCH)

g bat cova

G Gurdjeff

Beuys

Angeli Silesi

Tenzin Gyatso

Carl Gustav Jung

Hermann Hesse

(As it happens only one of them, Tenzin Gyatso the Dalai Lama, is still living in his human body, the others still live on in the ideas they left for us).

ITEV is a search for peace and harmonious existence. It shows six men who pursued practices which encapsulated a vision of what life can mean and how to prepare for leaving the mix of sorrows and joys of this mortal coil…foil…toil…. Coiling, swirling, twisting, trickstering, mysterying, and most of all it’s about dancing to the sound of the Cosmos, to the sound of one hand.

I have made the words in the new version, Inside This Great Jug, are a bit easier for the casual onlooker to understand which will be important if I am going to read any of them in the Arnolfini to people who may never have met me nor seen my work before. The images are also a bit brighter in Inside This Great Jug as I’ve made the portraits more colourful. Whereas ITEV is a more complex package with the layouts of its poems being in the shape of a pot and the pages remain unbound but kept in a little folder. Inside This Great Jug is a concertina folded book with a cover. And it’s a dinky tiny thing which people seem to like and they are calling it ‘pocket size’.

I notice there’s one poem which is very different from the other six?

Yes well that’s from the collaboration I did with David Jury who took the words from ITEV and reset them in his letterpress version. We edited the poems and even added a subtext. That odd one out is from that version of ITEV. It’s handy really because I chose to have it in this new book cos am doing a reading of it in the ‘talk’ at 4pm on Sunday 12th April. Most of that ‘talk’ will feature the life and work of Joseph Beuys because he is the most artist-like of the six men in the poems and of course it’s being done in an art gallery. I won’t be ‘talking’ all the time I hope to be able to answer any questions that folk bring up although it’s only scheduled for 20 minutes. Then I guess they’ll be rushing back to pack their tables if they are fellow stall-holders. Visitors should have an hour to make final purchases and walk, float or fly out of the gallery, depending how they feel after watching my gig! They may even dance all the way home.

My old mate Duncan recently sent his summary of my Clay Jug Project. I chose to emphasise the words which are emboldened:

Pete,

I’ve been thinking about where you have arrived at with your Clay Jug project ……

You are now presenting and embracing a set of representations of communications of knowledge from six chosen mystics.

In the beginning was the word and yours is represented by the Jackie Leven chant of Kabir’s Inside This Clay Jug , a memory of the oral tradition of conveying knowledge.

Your presentation contains the vocal tradition through poems, complemented by spiritual dance and music in order to enhance the meditative experience; this is a time before the word was conveyed by writing.

Your clay jug containing scrolls represents the first forms of conveying words.

Your self-made books are a next step in the man’s way of representing knowledge, illustrated by drawing and symbols.

Then, you move to type-set books and try and preserve the original energy of the dancing communications, through layout and emphasis.

Even though you can view this as a historic progression of representing the written word, you are trying to maintain and enhance the meaning and rhythm of the original thoughts and vocal communication of the mystics in all its forms together.

You can view your project as a complete set, with no linear sequence, of the different forms of conveying the knowledge of the mystics, they are presented all together and intertwined, so giving more emphasis to the wisdom of the words and the form does not detract too much from the words.

Your presentation and artefacts created, deliver a dancing pageant of art representing the communication of the knowledge of the mystics through the changing forms of communication.

Duncan Walker (14.2.15)

Duncan has been a friend of mine since we met while playing football for the school team in 1961. He has kept a close eye on the way my art and ideas has developed since we were at school. Another old friend who I met in 1969, Ian Woolard, tried to put a comment on this blog last week. He filled in the form on the blog and pressed send, but it never came through. I wonder if that happens often? I mean, there was about a 20% return in ‘views’ from the folk I notified last week, which is great, but never do I get any comments, which should be coming in if only by law of averages. IF you have commented on my blogs and never got an acknowledgement from me then that would be cos it never showed up in my domain. So, you should make comments in emails maybe, then if you wish me to add them to the blog just say so and if I can bear the view expressed I shall add it in. Ta.

Peter the Prancing Prattler

PETER THE PRANCING PRATTLER says, ‘I make it 7 weeks to go to the BABE weekend!’ (you just can’t shut him up). Expect to see him on a table, well he’ll not actually be on the table, alongside his collaborator, David Jury. Now David is not a Prattler no, not at all, not likely, but he’s a darned good printer of letterpress and he’ll have some of his sheets which we collaborated on last summer, for weeks on end.

Let me tell you about the ‘poem’ that David letterpress printed , (which is shown in the featured image at the top of this blArt in situ at the Slack Space exhibition in Colchester until 28th February), because it has a history and even a follow on after we completed the DJ version.

So it began with Destination Dust, a series of ‘poems’ about 6 men of ideas and actions who had impressed me on my journey thru life and art and literary stuff and exhibitions and dances and cosmologies and more. I’m not going to list them here, that’s done elsewhere. I am going to take one of them and try to show the different incarnations of my ‘poems’ about him and some drawings and other forms.

So, to begin at the beginning, Hermann Hesse. A German Nobel Prize writer. A thinker. A poet. A pacifist. A lot of my work is directly influenced by his works. Destination Dust is influenced by his books Siddhartha and also Journey To The East. In my ‘book’ G BATCH the first ‘poem’ is about Hesse.

Hermann Hesse

Whilst following the winding road toward the village of Montagnola

Near Mount Saint Salvatore a footloose exiled pilgrim full with wanderlust

HH encountered a mendicant monk named Dhona chanting a mantra

Dhona said that when he had met Sakyamuni way back when

He asked the beloved one

Sir would you be a human?

Sir would you be a Gandharvan?

Sir would you be a Yaksa?

Sir would you be a god?

To each the Bodhisattva’s reply was No Dhona

What then would you be?

I am a Buddha, brahmin, a Buddha. … All composite things decay…Strive diligently.”

 

As he watched Dhona walk his quiet way HH had the idea

To write a story called Siddhartha

So that people in the West might learn about the Enlightened one.

 

I did some readings from that poem and found it difficult to read out loud so I set about a new version which I planned should be simpler to read.

 

Dhona the Brahmin was a mendicant monk

Who asked Siddhartha

“Are you human or one from Gandharva

Are you a god or maybe a Yaksa?”

 

“Brahmin everything that’s created passes,”

“Go peacefully to your destination,

Strive diligently t’ward your transition, Dhona

Which is escape from Samsara’s wheel of Suffering

 

There was dispute after Guatama’s passing away

Dhona intervening did say,

“The message of the Blessed Buddha

Is still peace and forbearance today.”

 

Thereby the Malla chieftans of Kusinara

On whose soil Shakyamuni died

Reluctantly released the relics

To be divided into eight domains

 

Each claimant built a monument

Which every time turned to rust

Confirming Buddha’s message that

Everything passes to ashes and dust

 

Up on the road near Montagnola

A Wandering Writer named Hesse heard the tale from a mendicant monk

Then he recounted the story to you and to me

In a book called Siddhartha

 

Shakyamuni saw how we can escape

Samsara ’s spinning wheel

Shakyamuni said, “Namaste.

The Light in me

Greets the Light in thee.

I Am a Buddha, Brahmin, I Am a Buddha Now.”

 

I am unsure if it was any easier to read but I then decided to publish it in a ‘book’ in which the poems would all be laid out in the shape of a pot. The word in a vessel so to speak so I designed Inside This Earthen Vessel and proceeded to print some copy so I could fold the cover come folder in which to drop the new set of poems. Funnily enough recently I mentioned to Gary at the Baltic that there is an illustration in the book whereas all the pages bar one are ‘illustration’ where the words become the pot. Then DJ saw the book with its pots as poems and liked them enough to adapt them for his own summer project. He was careful enough to show me any changes or edits he made and slowly but surely his version arose. I am happy to say the Saison poetry library at Festival Hall bought a copy and featured it in their Open Day show.

 V1 hesse sm

You’ll notice there is now a subtext. Where I had left dots DJ wished for words and asked that I write a set of poems which would be appropriate but of a different ilk which I did by writing about my life in the northern town of Burnley. So here is the new ‘poem’

And now, the end is near

I prepare to claw

My way through

And this

I call it bliss

Has come to me

The hard way

But one thing I know for sure

One thing I want you to know

That thing

That thing is this

I did it my way

I found that bliss

Not just a kiss

I went all the way

I did not turn

I ceased to yearn

I found it my way

And now

At last I say

I have the key to untold wonder

The only way for you to find it too

Is to do it your way

I Am I say

I Am today

I was then and I Am now

I Am Real

Now and forever more

I found out my way

A bit far removed from the cultural philosophical grounds of the main poems but NOT! In fact Burnley is overlooked by Pendle Hill where the founder of the Quaker group George Fox experienced a vision in June 1652 (slightly before my time there). http://bcw-project.org/biography/george-fox

A couple of weeks ago I decided to attempt a reading of the content of the DJ version of the poem which is in some ways influenced by the typography of Kurt Schwitters and I saw that a reading would bring in some of Schwitters’ sound poetry ideas. In fact it became a very liberating and creative experience with great potential for its future.

 

Dhona the Brahmin And now was a mendicant monk the end is near Who asked Siddhartha-(Gautama-Shakyamuni-Tathāgata)  I prepare to “Are you human, one from Gandharva? Claw My way through Are you a god or maybe a Yaksa?” this And this I call “Brahmin everything that’s created passes, Strive diligently into your transition, it bliss Has come to Go peacefully t’ward your destination, me The hard way Escape from Samsara’s wheel of Suffering.” But one thing During a dispute when Guatama passed away Brahmin Dhona, intervening, did say, I know for sure One “The message of the Blessed Buddha

Is still peace and forbearance today.” Thing Thereafter the Malla chieftans of Kusinara I want you to On whose soil Shakyamuni had died know Reluctantly released the relics To be divided into eight domains. That Thereby, Each claimant built a monument thing Which every time turned to rust. Confirming Siddhartha’s message that Every That thing thing passes is to truly ashes this and I did it my way dust. On the road near Montagnola And now A Wandering Writer named Hesse heard the tale from a mendicant monk I found that Then he recounted the story to you bliss Not just a and to me In a book called ‘SIDDHARTHA.’ Tathāgata showed how to escape The Spinning Wheel of Samsara  Tathāgata said, “NAMASTE.  The Light in me greets the Light in thee. I Am a Buddha, Brahmin, I AM A kiss BUDDHA Now.”

 

And it doesn’t end there. I have written yet another version for BABE alone which will be published in my new book especially for BABE.

 

There is Hermann Hesse

A nomad exiled from his native Germany

(because he mistrusted insolent might)

who was heard to say

‘There is no reality except the one contained within’

 

Perambulating the Apennine mountains

A Wanderer searching the Door to renascence

His mind a Magic Theatre

A ‘Journeyer To The East’

He bumped into ‘mystic travellers’

Like Dhona the Brahmin

 

Dhona told him of the time

(It was around about 400 BC)

When he asked Shakyamuni

Sage of the Shakya clan

‘Do you come from Gandhara?

Are you a god?

How did you stop clinging on?

How do you emanate so much Love?’

‘Because I am no longer a Brahmin Dhona

I am a Buddha now’.

 

Hesse was inspired to write Siddhartha

Which in turn inspired the back packers

Beat poets like Ginsberg and Dean Moriarty

And Burnley beat nit Daniel O’Dourke.

Later on Jack Kerouac came to greet him

On The Road from the Wild West

 

Dance little sister dance we pray

Twirl and Swirl the Dervish way

Skip along that road with a little sway

Rolling on down to Destiny’s Day

Now you see what keeps me busy. I think this last version positively sings and dances. Hence the monicker, Peter the Prancing Prattler.

NAMASTE TO YAH

The Dalai Lama walked passed by me several years ago

I am not a Buddhist per se Percy (if that is your name?). I am interested in the ideas of Buddhism but I am also interested in football and rock & roller which does not make me a footballer nor a Rolling Stone. The Dalai Lama is the living one amongst my ‘Six Mystics’, men of ideas who moved human cultures forward (to what I am unsure but to a better understanding of why we are here and to whence we are heading would help), which feature inside my Clay Jug Project. I say project, it’s fashionable to call a plan or a dream a ‘project’ because although it began as a topic in my MA studies it was in fact ongoing before that and it won’t leave me alone. Each of my six mystics has led me on in some way down the path of knowledge and each has signposted some area of ‘ideas’ which I have explored. So Joseph Beuys inspires my ‘performances’, not only because when I don a trilby there’s a slight resemblance but because he had so much gall and you gotta have loads of galls if you’re ‘performing’ art. Also he was a reject. His college did not like his ideas so he created his own college and basically had a ‘sit-in’ at the old Institution and his creation became more widely known than the Institution and maybe more influential on folk like Anselm Kiefer and others. Beuys may appear an odd one out in my 6 mystics but he was deeply into the spirit of ancient Celtic culture and each of the ‘mystics’ is into the spiritual in some way. I have always had this feeling that there is more to life than the everyday necessities. I looked up to the sky at 5am today and it was cloudless and thousands of stars were glittering in the darkness. There’s wonder out there and when you listen to Jung you see there’s wonder inside you too. Most of my mystics say that that wonder is divine. Or like Beuys they are driven by it. Hesse looked to the East for inspiration then he built the ideas from Eastern cultures into his books alongside his knowledge of western monasticism which itself was from the East- Egypt, India etc.

 

In a way I am talking about grace and empathy, skills I hope I am learning as I grow old-er. My one big example is the Dalai Lama who passed by me several years ago and O I was lucky to get a wonderful snap of him.

dalama hands

I intend to do some more artworks based around him in the not too distant. I did one awhile back and donated it to the Tibet Society and they were so unimpressed by it saying, ‘In Tibet we have a tradition of making images which goes back hundreds of years. We don’t do Impressionist works.’ So there. Get back in yer garret Peter. Here it is. I was quite proud of it.

 tibet lanscape

 

I copied a photo of some mountains in Tibet with fields running toward them. The stripes running vertically at the back of the mountains are…more higher mountains, and that for me is a portrait of life. I climbed to the top of my mountain, passed my B/Ed degree, and found there was more to do. Now I got an MA too, and a few other things and I have stopped looking for mountains to climb. Not that I am tired, cos I am, but I have decided to enjoy the view more. Am looking back on my life and seeing what I achieved, sharing it with youse, and of course I shall continue to output. But let me show you this da lama an mts smwhere I took one of the mountains and placed an image of the Dalai Lama back in his own country. With a Tibetan wheel of life too. He’s pointing out that behind that mountain is a bigger one and behind that, infinity.

I saw him on tv one night and I took out my paints and I created this

Da Lama in color sketch sm

Which am using in my new mask for BABE in April. Am creating a new book with six re-worked masks in and six re-worked poems from G Batch & Inside This Earthen Vessel. One of the most impressive performances I have seen in all my days was the Tashi Lunpo monks doing Tibetan dance and music with these astounding costumes on. I won’t be wearing any costumes like theirs. In fact the skills employed in making them go back hundreds of years.

a tashi dancers

I am reading a wonderful little book by the Dalai Lama called ‘The Way To Freedom’ in which he explains a lot of the Tibetan Buddhist idea rather well. And I love the image on the cover where he’s got his hands clasped.

I went there on the day he opened the Peace Garden in the Imperial War Museum and I did a drawing for the Tibetans of him and the circle in that garden but they turned it down when I offered it to them. Once again it didn’t fit their ideas. No offence taken.

dalama peace gdn small

He’s in his tall yellow hat holding a Tibetan book called a pothi and overlooking the Peace Garden. And I got a yellow hat like what he wears, but I just look stupid in it, innit? yello hat meOm Man

I have a BIG blart about a local much maligned gallery (of Colchester fame) forming in the pipeline but I need to wait for some replies to enquiries I am making so altho impulse wants me to do it this week the wise, calm strong steady side of me says WAIT. I come not to malign this gallery but to praise it. There’s been enough malignations hitting it already. It needs support and help to develop a better public profile and I’d like to help even more than my occasional blogs about it in the past may have done. Watch this blArt.

Amalgamations and Collaborations

A week in the life of Blarty O’Dork

My Six Vessels Artists Book’s progress.
My new artist’s book, Inside This Earthen Vessel which is a re-write of the poem in my earlier book, G Batch about six men I call mystics, is nearly ready to go to press. I have set the ‘poems’ in Quark in the shape of pots or ‘vessels’ which makes them like concrete (or rather, ceramic) poems. I think I shall call them my ceramic poems. Concrete poems started by the likes of Apollinaire and Alfred Jarry are set on the page in various shapes rather than the traditional set in normal typographic layout. A friend of mine who has been big into typo for ages liked them so much that he suggested we do a collaborative publication in letterpress later on using the poems. I shall keep you posted on that progress. My version is all but completed ready for my printer to run off 50 copies, which is a mixed blessing cos I am going to be doing all the trimming and folding and that’s no easy task. Here is the first one.
INSIDE THIS EARTHEN VESSEL
Destination Dust
Dhona the Brahmin was a mendicant
monk….. Who asked Siddhartha (Gautama
Shakyamuni, Tathāgata) “Are you human, one
from Gandharva?……… Are you a god or maybe a
Yaksa?” “Brahmin everything that’s created passes.
Strive diligently into your transition, go peacefully to
ward your destination. Escape from the Spinning Wheel
of Samsara.” During dispute when Guatama passed away
Brahmin Dhona, intervening, did say….“The message of the
Blessed Buddha Is still peace & forbearance today.” Thereby
the Malla chieftans of Kusinara….. On whose soil Shakyamuni
had died. Reluctantly released the relics to be divided into eight
domains….. Thereby each claimant built a monument……Which
every time turned to rust Confirming Siddhartha’s message that
Every… thing… passes… to… ashes… and……………. dust
Up on the road near Montagnola… A Wandering Writer named
Hesse heard the tale from a Mendicant Monk…………….Then he
recounted the story to you and to me In a book which he called
‘Siddhartha.’
Tathāgata shewed how to escape the Swamps of Samsara and
Suffering. Tathāgata said “Namaste. The Light
in me Greets the Light in thee. I Am a Buddha Brahmin,
I Am a Buddha Now.”

The ‘a’s with the little ting on top just happened, so I have left them as I really like them.
Copies of the book should be available before the end of August. In time for the Oxford ‘Wayzegoose’ book fair where I have gotten a table near my birthday in October. “ Will you still need me. Will you still feed me. When I’m sixty four? Ba bum boom, les Beatells.” https://www.youtube.com/watch?v=fDt26gJYVB4
The new book has several mentions of key belief systems but it’s not any way a religious book. It’s about looking at the wonders of existence on this little globe using the insights of some men who spent their lives dedicated to trying to help human beings see more clearly, the six ‘thinkers’ (or maybe better called ‘tinkers’?) in it being:

G.iorgi Ivanovitch Gurdzhiev

B.euys Joseph
A.ngeli Silesii
T.enzin Gyatso
C.arl Gustav Jung
H.ermann Hesse

The first letters of each name give the title of my Introduction to the project in an earlier artist’s book, G Batch.I could have included others like William Blake, but my time was limited to one year to complete that project and I had to be selective. The nice ting is this new book and my collaboration both grew easily from all the work I did at the time. There is even a wider scope book in there but Thames & Hudson’s reader in ‘Spiritual’ etc books couldn’t imagine that anyone out there would buy it in big enough numbers. I believe they would, it’s just that the publishing world has little imagination, like the art world- galleries etc. I approached the Museum Of Modern Art NY with my image called variously Venus at the Stairs or Venus Stares because they own two of the images which inspired me to do that image, Schlemmer & Lichtensteins, but they send a rather rude and ignominious reply to anyone who has the temerity to approach them:
Sirs and mesdames,
at the end of April 2014 i send a package with my image of my picture to see if I could galvanise an interest on your part to buy one. I sent it by air mail to: The Museum of Modern Art
The Department of Painting and Sculpture
11 West 53rd Street
New York, NY 10019
In the light of not having gotten a reply by today, 16July 2014 should i take it that your gallery has no interest?
Hello.
Thank you for contacting The Museum of Modern Art.
Please note that the Department of Painting and Sculpture’s acquisition and exhibition programs are developed from within the Museum. Due to the large number of unsolicited submissions we receive, we can only respond to those which the curators express an interesting in pursuing.
Sincerely,
The Museum of Modern Art

And from a gallery in Germany which happens to be having a Schlemmer show right now, a fact I was as usual blissfully unaware of when I suggested they buy my pic:
Dear Mr. Kennedy,
Thank you for this information on your work inspired by Schlemmer. However: as you may presume, our exhbition is already fully set and it is a retrospective on the artist Oskar Schlemmer only.
Sincerely,
I.Conzen Kuratorin für Klassische Moderne
Staatsgalerie Stuttgart

I remember back in the early 80’s on their first(?) album Mark Knopfler of Dire Straits mentioned a friend who had made it, ‘In the Gallery’. At the time I was an ‘artist-bloke’ making and teaching art and related skills and I recall thinking well am not ‘In the Gallery’ yet, maybe one day? That never happened. I’m flagging up my chagrin cos it’s no good me saying in 20 yearns time ‘Why did you not let me in?’ and you telling me you didn’t know I wanted to be considered. In fact, my old mate IEPW has reminded me that ‘galleries’ are commercial enterprises, they are never going to let anyone in who isn’t ‘recognised’ and/or in one way or another, famed. So, I am barking up the wrong tree again. They are never going to let me in, in fact my biggest claim to fame is my ‘originality’ and that my friends is exactly what they do not want. They want the things which have been tried and tested, vetted and decided upon by key decision makers like Saatchi, the money, the last ting they want is someone who is always changing tack, always searching for the new.

There are those who tell me that being in the gallery is not all it’s cracked up to be (whatever that is; being ‘seen’, bought, considered, added to the list etc). Like Lucy Lippard who started, after gaining a degree in curating (?), at Momany and spent much of her life advocating being ‘outside the gallery’, I heard her say it in a talk a year or two ago, albeit from the stage in one of London’s ‘important’ galleries.

VIP I have to correct the mistake above. Lucy has gently informed me that she got ‘just an MA in art history’ rather than curating. I had carelessly assumed her degree to be in curating from her early role at MOMA. (As you will suspect I am trying to avoid digging a deeper hole here when I say) I have only respect for Lucy and her long standing relationship within and without the world of art. I first came across her writing in relation to Eva Hesse, an artist whose work I love and of whom Lucy was a friend and advocate, I think…be careful now…take nothing for granted Pete. Since then I have studied, slightly, her work in relation to the likes of Robert Smithson and her Numbers Shows. I was lucky to listen to and draw her at the Whitechapel gallery a couple of years ago. When I say I drew her it was without her knowledge or consent as I draw folk when the institution dis-allows photography so I have a visual record of a person at an event. As you may guess visual memory is important to me.

lucy for blog 29714 smkb

I’m a sad bastad me. Sad cos I tried so hard to break through into the world ofart, I mean you gotta be sad to even try, why not get a proper job?

What’s interesting is how tings move on. I never used to see my ‘writing’ as part of my ‘art’ but recently I have learned to understand they are one. In the same way, for many years I saw my ‘comic’ or graphic drawings (of Apulhed and Friends) as separate from my oil paintings and now I understand they are one. I used to wonder how I could amalgamate one skill or form in with another across a wide range, then I realised they are not separate, they are one. In my last blog I did a newstyle ‘comic’ in which I began to incorporate the photo-image with the drawn image. Expect to see more amalgamations, and collaborations, as the stopper is out of the champagne bottle.

A Blake workshop
On Saturday I went to a workshop by a Blake scholar whose prints from his own re-makes of Blake’s copper plates are in every important Blake collection all over the woild. The workshop ‘Printing in the Infernal Method’, led by Professor Michael Phillips, took place on Saturday 26 July 2014, at Morley College. Michael explained the mystery behind Blake’s method of creating the prints for his books. He dispelled myths about Blake’s techniques. Fundamentally Blake could mirror write on the tiny plates (c.70×112 mm) from his youth. Michael carries his own little bottles of pigment, limited to the exact colours Blake used, and linseed oil. He mixed the ink to its optimum mix. He then applied the ink to the small copper plates which he explained were created from a number of sources close to the original plates all of which are lost. He told us of a little boy who Blake taught how to make a plate.
http://williamblakeprints.co.uk/making_the_plates.html

michael phillips daubing

Michael the master Blake printer daubing delicately.

Luckily for posterity the boy had kept what was a postage stamp sized plate in his box and it passed to descendants. On the back of it was an old Blake image which has given Michael an exact measure of the depth of cut Blake used to incise the image then use two dips into sulphuric acid. 1.125 mm deep is all he did. Michael scotched the rumour that Blake had used rollers to ink up his plates, no because they were not invented whilst he was working. He used a leather dauber. We were allowed to have a go and man is it difficult. I used my most delicate touch and that was too much, I got well told. Then Michael did four prints from each of 5 plates each diminishing in tone until the final pull, which now had 3 mini-blankets on whereas the first pull had one, was almost inkless. I learned so much from Michael and have to thank him for his patience and knowledge.

blake chimney sweep print smkb

The Chimney Sweep.
You can see how kak-handed my daubing was where the grain shows in the ‘white’ areas.

Also
I love the work of Stephanie Wright http://www.sculptgallery.com/item/single/2282/stephanie_wright_compot which i saw in the new summer show at Sculpt gallery near Tiptree in Essex. Her pots cum found objets sculptures are refreshingly original and humour-filled. If you care to go to her website she does quite a range of ceramics but the ones in this gallery are my favourite.