Features the artists: David Eastens, Shahin De Heart Riccardo Vitiello Myfanwy Williams Ian Fallace
Liz Cleaves Paul McCloskey Volker Mayr Kelvin Harvey Peter Murray
All artists summaries written by Denis Taylor unless stated otherwise
“abstract art, what’s so special about it?” article written by ‘Spike
TUBESthe leading art magazine both on line andin print go to: www.painterstubes.com ©painterstubes.com
TAG#4 artists featured in this issue of Tubes Artists Gallery Liz Doyle David Eastens Shahin De Heart Riccardo Vitiello Myfanwy Williams Ian Fallace Liz Cleaves Paul McCloskey Volker Mayr Kelvin Harvey Peter Murray artists summaries written by Denis Taylor unless stated otherwise “abstract art, what’s so special about it?” article written by ‘Spike’ TAG - Tubes Artists Gallery is designed and produced by Studio 5 Sweden all the art shown in this issue is copyright of the individual artist the article “abstract art what’s so special about about it?” ©Spike2019 painters TUBES magazine and TAG -Tubes Artists Gallery retain the exclusive rights of all material ©TAG#4Studio5Sweden2019 reproduction of content in any form or selling of material or images is strictly forbidden without the written permission of the copyright holderreproduction or use of the ©brand names or any part of TUBES magazines is strictly forbidden ©studio5sweden2013-2020 issues #1 to #14 painters Tubes magazine TAG#1 to TAG#4 all enquiries or permissions please apply to Studio 5 Sweden Ekerodsvgen 253 266 95 Munka Ljungby Sweden [email protected] +46 76 19 19 007 registered urls: www.painterstubes.com - www.painterstubes.gallery - www.tubesmag.com
TAG - Tubes Artists Gallery are delighted to welcome the highlyregarded art critic and author ‘Spike’ who has joined TAG frompainters TUBES magazine.Spike’s article “abstract art - what’s so special about it?’ is themotivation for this special issue of Tubes Artists Gallery, TAG#4.This issue showcases both accomplished , acclaimed andrelatively unknown artists, all of whom create unique andauthentic abstract paintings. abstract art what’s so special about it? The inter-relationship of twentieth century poets, art critical thinkers, academics and practising artists, havecontributed to what we now consider as Abstract painting.Without first re-reading and with concentrated study of all theseconsiderable contributions, the total understanding of abstractart and its development is probably not possible for the casualart reader. The objective of this feature in TAG #4 is to give thereader a sort of base-line for some of the reasoning behind thechoice of artists that create abstract paintings and to highlighthow contemporary art fits within contemporary society. An argument that could be made is that all Art is abstract by its very nature. What we see, as individuals, is as different as we are from each other, therefore what we see is only one reality. With figurative (realist) art there is a commonality of course. A tree, inreal life or painted on canvas, is still a tree and we all canrecognise it as such (refer to René Magritte - the treachery ofimages series of paintings (1928-1929). Even an abstracted tree(invented by the artist) is still a tree to the viewer of the imagethat has been invented and visualised by the artist.So what is abstract art and what is not abstract art? As Magrittesuggested, it is patently subjective. Quantifying contemporaryabstract painting is therefore a task of complexity. From anhistorical viewpoint, there is no obvious starting point, nomiddle and no ending that adequately provides the reader witha definitive road map of its development.
Over the years academics haveshort listed artists who they fit into a kind ofchronological list. Kandinsky being a primaryname on that list who they say ‘was the first’to create a truly abstract work of art - Clearlythat is not absolutely correct, as todaywe are aware of many artists before andduring Kandinsky’s artistic revelations whowere equally, if not more so, engaged withabstraction. (ref to Cozen’s late 1700’s)The term ‘abstract-art’ did promote visions inpeoples minds of paint being thrown aroundwilly-nilly or brushed loosely onto flat surfacesby artists who perhaps, have momentarily losttheir minds. Launching themselves into a wildworld of their own making.In general it could be said that abstract art isimagined (by much of the public) as Art whichis not imbued with any skill of applicationor forethought - the “anyone can do that”syndrome - was heard and not that long ago.This outdated perception of abstract art,may well still exist to a lesser extent, evenamong some lesser informed artists. Thosewho carry on the argument that there is onlyone ‘real’ type of creation and that is ‘reality’.Embracing abstract art as a serious imageof contemplation, for intimate reflection andself examination however is not what thecontemporary public are accustomed to.
The ‘MacDonald’s take-away’ type of art has been dominant for decades, so much so thatsociety seems to have forgotten how to ‘look’ at a work of art or to give it any length of timeto connect with (paintings in particular) - on a level other than an immediate visual impression.Art Entertainment (figurative decoration or nostalgia paintings) have been the drivingforce in visual art for much of the twentieth century and in the twenty first century thissort of subject matter is still the main thrust of exhibited work - one which propels artiststo create more art which has ’decorative-values’ as its core concern.This interior design consideration is especially relevant when the artworks created are togalleries needs, who wish to sell for profit. Abstract art often falls into this category too, forexample when interior designers need to polish off new swish apartments or boardroom.Statement Art is the new 18c Landscape Painting for the socially liberal affluent elite.I have no ambition to set one form of painting against another [i.e. realism verses abstract],each in turn have their merit and their admirers, which is as it should be. Today the art fieldis populated by all forms of painting which has been a direct inheritance of the artistic groundbreaking paths well trodden in the past. Exploratory art now seems to have been put aside forother media to expand the existing artistic landscape, i.e. digital, conceptual and performanceart, more so than hand created painting. (note to self: indeed it is questionable whatexploratory abstract visual art is actually useful for and does anyone create it today ?)Are the abstract paintings on offer today really that different, from the semi-realism, realistic orthe super realism paintings that we see in ever increasing numbers in high street galleries oron social media? This TAG #4 issue may not provide the answer to that question, perhaps it isfor the viewer of the art featured within it to decide that for themselves.
“...if you know exactly what you are going to do [paint], what is the sense of doing it? Since you know it before you start, then it has no value [as art] better to do something else...” Pablo PicassoThe argument for abstract begins (and probably ends) with Picasso - Although he also said; “Abstract Art does not exist ...everything comes from something.” Just to contradict himself from the previous statements made earlier in his long life. But, he did have a point. Mondrian insisted that to approach creation with a spirituality (in art) that little use of reality is required. Why? - Because reality is opposed to the spiritual, (he said). Mondrian was also convinced that Art was like Religion - Superhuman - And that art cultivates the superhuman element in humanity. Therefore Art is an ends to a means of our species evolution. He also stated that ‘spirit’ or ‘matter’ alone cannot deliver a vital or dynamic art - into being - And that it takes the unity of the two to ensure its creation. This is a complex train of thought, one I personally find fascinating. As it goes beyond the simple act of painting and delivers it to the hands of psychology - self analysis - before during and after the creative process itself, which I’m pretty sure is a sort of masochistic brain torture. Specifically for the artist who chooses to try and create an abstract work that can help evolve humanity.
In a similar vein - Soulage makes a more clinical, if not mystical distinction between abstraction and non-abstraction painting... “...for me my painting has always stood apart from the figurative versus non-figurative. I do not start out from either an object or a landscape, later to distort them. Nor conversely, do I seek to conjure them up in my painting. It seems to me that what happens in a painting, which from an object in the making, [that] suddenly comes alive, defies description.” Pierre Soulage If you know the work he produced, this statement does sort of justify the extreme ‘black’ abstracts that he became renown for. This ‘type of work’ wasalso created by another artist (Hans Hartung) someyears before Soulage (1934), which really broke the ground for ‘instinctive’ neo-abstraction creation.. “Painting is a state of being. Painting is self discovery. Every good artist paints what they are. “ Jackson Pollock
Often accused of creating accidents, Pollock was the ‘man’ whostirred up more negative reaction to abstract art than most thatcame before or after him. He answered his critics with anger andtypical American bravado “ I don’t wait for the accident, I create theaccident.” He is known to have snapped back to a vicious criticalattack of his work. Today we can find hundreds of ‘Pollock’ imitationson the web - all of them worth no more than the canvas they arepainted on - none of them being imbued by the personality, thepassion, nor the elegant control of any of the original Pollocks’ -which is why Abstract painting is not as easy as many of today’sartists believe it to be. To expand on the Pollock statement above,I would like to suggest that... ”Great Abstraction is a state of being - creating a real work of art, not a simple case of image making .”After the ‘American Expressionism’ came the ‘Neo Realism’ of 1960.“Easel painting, like any other classic means of painting or sculpturehas served its term. Still sublime at times, it is approaching the end of along monopoly. What is proposed? The exciting adventure of ‘the real’seen for what it is and not through the prism of conceptual or imaginativetransmission. What is the determining feature of this new perception?The introduction of sociological reinforcement at the critical stage ofcommunication. Sociology comes to the aid of consciousness andhazard, wether it is the posting or the tearing down of a sign, the physicalappearance of an object, the rubbish from the house or living room, theunleashing of mechanical affectivity, or expanding of sensitivity beyond thelimits of perception....” Above: extract from the The New Realists. End of painting predicted in 1960. (quoted text is taken from their first manifesto). Written by Pierre Restany – ItalyIt perhaps the art of another kind, other than painting, that has pushedabstract art further and to its very limit. That art is ‘the new Europeanrealism’ which came into being as quoted above- It is an odd andcontradictory statement - ‘realism pushes abstraction’ - but in purelyintellectual terms it is correct to say that we do view ‘contemporary art’ onethat features an actual unmade (household) bed, a roll of paper crushedinto a ball, layers of masking tape placed in a one inch square and placedon a wall, or a door that opens with a light going on and off, or a notice thattells us not to worry, or a banana stuck on a wall with gaffer tape - as Art -the Public places abstraction and these realist forms of intellectual basedart presentations, as one of the same thing.From my standpoint - I think the major mistake of the ‘art institutions’ wasand still is, to favour Artists that ridicules Art. We need Art in this worldto help us progress as a species - Humans are capable of destroyingthemselves easily - they don’t need a push into cynical loathing of Art.The challenges of creation should be wide and open to all - a broad churchif you will - one that will continue to embrace visual art in its various guises.Art created by humans of all ages, shapes and sizes. Surely it is time todismiss all of the labels of art, lets just say... all Art should be special. written by SPIKE - TAG#4 ©painters Tubes magazines December 2019.
Liz DoyleIt is difficult not to become excited about Liz’s work. Her energyis infectious and this energy is transferred into her abstractpaintings. The painting on the front and back cover of TAG#4is a perfect demonstration of what I am talking about. Thework is 2000mm wide and1000mm high, the size of the workis impressive. The impact of the variable toned red base withthe yellow and blue emerging from the colour field gives bothdimension and perspective. The blue seems to be arrived inthe foreground whereas the yellow is slowing passing on intothe distance as the small blue square rests on the ground asif it were an anchor. Liz has carved her initials in the smallheart shaped blue mark (to the right of the painting) to claimthe authorship of this unique piece of work. All Liz’s paintingsare strong, both in colour, tonal differences and all have thepower of her assertive manner of how she handles the paintapplication on the surface. Using oil paint and cold wax givesthe artist a textured finish to her work and enables her to‘scratch’ instinctive marks into the medium which gives her theopportunity to develop the work with a final burst of creativeenergy.Here is what Liz has to say about her most importantinfluences...“...my abstract works are an exploration, both of my materialsand my surroundings and my experiences.Of course my choices (of materials and colours andcomposition) are also the product of the influences I feel fromthe works of all the ‘Greats’ that have gone before us. WhenI think about painting, my inner eye turns most frequently tofavourite works I have seen by Richard Diebenkorn, RobertMotherwell, Lee Krasner, Helen Frankenthaler, Antoni Tapiesand even further back to Pablo Picasso, Paul Cezanne andJ.M.W.Turner, and that to mention just a few.” Liz lives on Cruit Island in County Donegal and paints in anconverted stable which is now her studio. She has exhibitedwidely in solo and group shows throughout Ireland sincemoving there in 2007. Her work is in private collections inIreland, the UK, Europe, Australia and the USA. Recently herwork was shown as the Miami Art Fair (see photograph fromMark Borgi Fine Art. Liz also exhibits at The Doorway Gallery,Dublin (www.thedoorwaygallery.com ) The Velvet Easel,Edinburgh (www.velveteasel.co.uk) And in County Mayo at theGreen Fuse Gallery (www.greenfuse.ie)You can find out more about Liz and her work at www.donegallizdoyle.comSocial media sites: Instagram @lizdoyleartist On Twitter @lizleindoylePhotograph above right: Liz in NYC outside the Gallery.Painting opposite page right: “Blue Pour over Mountain Scene”Oil and cold wax on Birch Panel. 600mm x 600mm.painting right: “Peripheries” Oil and cold wax on linen-canvas.1000mm x 2000mm (shown on TAG front and back page pageas a reversed image with special the permission of the artist).Photographs and images grateful thanks andacknowledgements to: Vincent O’Donoghue at Green FuseGallery.- www.greenfuse.ie and Mark Borghi Fine Art, NewYork, USA. - www.borghi.org
paintings this page:top: “Lugh’s Portal’ - 997mmx 2057mm Oil and coldwax medium on canvas.middle left: “Arc” -1200mm x 1200mm - Oil and coldwax medium on canvasmiddle right: “I’ve been wondering where we camefrom” - 600mm x 600mm Oil and cold wax on poplarcradled birch.Bottom photograph, the installation of Liz Doyle’swork at the recent Miami Art Fair. USA.Photogrpah Courtesy of: Mark Borghi Fine Art, NewYork, USA - www.borghi.org
paintings above - untitled - 550mm x 600mm Acrylic and mixed media on canvas David Eastens David is an unusual talent. His work keeps him on a specific path that is far more than simplistic image making. David is an autodidact artist which is coupled with a dedicated aim towards progressing his art to go beyond his expectations. Over the last several years he has concentrated on abstract expressionism with oil paint. The creative path choice was not accidental, as David experiences periods of unstable mental health. Painting and its process helps him to work through these difficult periods. Born in Warrington (Cheshire) the artist has shown water colour paintings and pastel artworks from around 2012. Today his abstract work takes centre stage and his creative life has taken charge of him and become so critical and very important to him. The value of Art as part and parcel of his life is without doubt, immeasurable. “I’ve suffered with psychosis and schizophrenia for a long time. I’ve isolated myself for a long periods, not knowing how to interact with people, so I could not promote my art. I still struggle to do this a lot of the time.” Tubes and TAG are delighted to have included David’s work in TAG #4 and we hope it will help to bring his important work and process to a wider general public, which will encourage a deeper conversion of Art as a provider for the well being of people and as a recognised alternative for the handling of many serious mental health issues.
paintings above and below - untitled - 550mm x 600mm Acrylic and mixed media on canvas
paintings above - untitled - 550mm x 600mm Acrylic and mixed media on canvas
Shahin De Heart Tubes have known Shahin for some time, her paintings having featured in painters Tubes magazine before today. It was an issue that featured many great artworks of which Shahin’s paintings were outstanding examples of the expressive paintings on view in that issue. The work shown in TAG #4 provides the reader with an expanded view of Shahin’s art from 2016/7.Recently she has started to introduce figurative elements into her paintings.Below Shahin gives a summary of the reasoning behind her work, of which the main driverhas been the removal of cultural barriers... “...When I was eleven years old I was awarded a prize for the bestyoung painter in Tehran. The spiritual part of the prize was a ‘Hafiz’ Divan volume bookbound in green fabric. This book, in which our famous Persian poet sings of nature, love andfriendship in mystically allegorical tones, has accompanied my whole artistic life since all myabstract pictures are titled Hafiz. The following lines of ‘Haziz’ poetry have never let me go...‘...Come, let us scatter blossoms, let us pour wine into the cups, let us open the roof ofheaven and design each day a new world.’ With these lines Hafez challenged his fellow-men to unremitting,sensual, aesthetic creativity constructive world-critical view and constant aesthetic rebellionwere and are one. In this sense, I believe in the future of painting and the advancementof modern art, and strive to open new ways to the past and future of Europe and Asia with anew world language of painting.”
painting below: “Hafez” 1400mm x 1600mmpainting opposite page Top: “Hafez” in the Garden #8 800mm x 1000mm
painting above: “in the garden” #9- 1200mm x 1600mmpainting below: “Hafez” (Garden)- 1200mm x 1600mm
Riccardo VitielloRiccardo is an artist that TUBES have been watching for a few years.Using a system of what could be seen as ‘writing’ (ref to Tapies) the artist createsan original art where the repetitive symbol acts as a sort of catalyst which theartist then positions these created lyrical characters, in various situations -both real and imaginary.Riccardo was born in 1974 in Livorno, Tuscany, Italy, He is a self-taught artist.He previously worked creating video art and abstract photography. He now choosespaintings exclusively, employing acrylics usually on canvas and cardboard as hismain mediums.Here is how Riccardo explains his process. “Usually everything starts with a sketchon paper, I always considered free drawing like a therapy, as I start with no endresult in mind. Later I start to recognize some elements and a kind of contextand, since that moment, i go on as I always known the final result. Some of thesesketches become paintings. Sometimes I prefer the freedom of painting directly oncanvas. This freedom allows for great creativity, as i start (again) with no end resultin mind. In this way, I am free to experiment with shapes and colors until I feel mycreations are complete.”
“Being a hero is not an excuse” 500mm x 500mm acrylic on canvas
“Spanish Neighbourhoods” 400mm x 300mm acrylic on paper “Blue Title” 400mm x 300mm acrylic on paper
painting above. Title: “Bearing Gifts” “The aim of art is to represent not the outward appearance of things, but their inward significance.” AristotleMyfanwy posted a summary to TAG of how she feels about her work and what her influences are.The quote above by the Greek Aristole was part of that statement. For me this is one of the greatexplanations of painting in general and abstract painting specifically.The artists work is delicate yet with strong colour lines and carefully considered composition. She speaksof ‘inner’ landscapes (of the mind and soul) and reacting to detail in various imagery that surroundsher, natural and photographic. Myfanwy has a sophisticated cultural base which she employs withmemories and the written word (poetry) - various ideas and concepts that become her abstract art.Here is what she says about her art...“...My paintings reflect the many factors which have influenced my work, including travel, archaeology,changes in society and a love of nature and landscape. Many of my paintings are inspired by myvisits to European archaeological sites. I am also fascinated by the sea, adding fragments of mapsand geographical details to the textures of the paintings. My work frequently makes use of the idea ofpalimpsest in its broadest sense. Colourful expressionism is an important part of my art.” Website: www. myfanwywilliams.com Instagram: @myfanwyw Facebook: Myfanwy Williams
above painting: title “Distance”below painting title: “Journey”
above painting: title “Shored”below painting title: “Coloured by the Past”
Volker Mayr Art - thoughts and ideas about abstract painting“In 1985 I fell in love with abstract painting after working for twenty odd yearspainting figurative work. Much more than realistic art abstract demands aspontaneous and emotional handling of colours, textures and forms.For me emotions are the key іngrеdіеnt for abstract painting. My emotions inmy abstracts should also evoke a viewer’s emotions – not necessarily the sameemotions - on the contrary theirs may be new and different emotions dependingon the viewer’s personality and present situation. With my paintings I should liketo reach out to the soul of the viewer and make it vibrate.” The art historian Gerhard Charles Rump said of Volker’s work:“Mayrs paintings in their combination of painterly gestures and visible structuresof the colour mass are remarkable, the colours themselves, their tones.They move in rarely explored areas, do not jump at the viewer, but requiresensitive approach and a willingness to see them with patience to see all tracesof nuances. Images as they are dynamic in origin and have a form of inventory,that makes a meditative element.“ You can find more on Volker and his art on: www.volker-mayr.com email: [email protected]
paintings: above; “In the Mood” Oil on Canvas. 800mm x 100mmbelow: “In the Heat of the night” Oil on paper.540mm x430mm
paintings this page.top: “Hawk or Dove”Oil on Canvas.900mm x 1200mmbottom: “Black Beauty”Oil on Canvas.900mm x 1200mm
Painting Title: “Rise” Liz Cleaves
Painting Title: “Filitosa”There is something very satisfying about Liz Cleaves work. It may well be that it reminds me, inpart, of the delicate colour work of Matisse. Certainly the ’Softly through my window’ painting does.Liz has a delicate touch with seemingly ease of composition. However she explains that whatfascinates her in the actual process of painting and composing. She says that whilst she worksshe develops the colour ideas from a predetermined colour range. Speaks about the colour indetail and it is clear she is indeed a formal abstract painter of quality.Here what she has to say about her art... “...Colour is my inspiration. It affects the way I feel and how I use it.Applying pigment to canvas and then experiencing colour relationships is absorbing. Laying ona colour and another colour (and maybe also another) is an adventure into the unknown. Theway that I develop colour in a composition is an important process that requires me to adapt andmoderate my thinking as I go along. Inevitably this means that I must also modify the shapes andforms that appear. I mainly use unbleached canvas to work on. That, in itself, has tension, colourand texture… all of which affect my way of painting, and the outcomes I achieve.” You can find more of Liz’s work on her web site at: www.skybluesea.netPainting Title: “Orb”
Painting Title: “Stellar Rising”Painting Title:“Softly through my window””
Paul McCloskey Paul has an extensive portfolio. I have selected a specific ‘nature’ inspired series of work. However, his later painting experiments with taking the two dimensional platform and making in three dimensions by presenting ‘cubes’ each having a painted surface. As the artist states below, the process is of primary importance to him. It seems that the process of abstraction to all the artists in this special feature is the overriding element. Tubes will invite Paul to a further discussion on his art for a full feature in Tubes magazine in an issue during 2020 where his full extent of art can be discussed in greater detail Here he talks about his painting process. “...I prefer to abstract the subject rather than meticulously represent what is in front of me, my work is mainly based on landscape, this is the starting point based on a accumulation of memories, interpretation and surrounding views. Landscape gives the viewer an initial starting point a familiar focus which invites them in, once in then the work is open to the viewers interpretation based on their own memories, emotions and mood. Abstraction allows for this emotional interaction both for me the artist and the viewer. However process is primary for me, the act of doing of allowing is where the magic happens irrespective of the subject.” painting left : “Hinterland” Marsh.Born County, Monaghan, Ireland. He is now living and working in Gorey Co. Wexford. Paul attended theNational College of Art and Design (N.C.A.D) Dublin). He also attended De Montfort University UK and wasawarded a Master’s Degree in Fine art (MFA) in 2010. Paul is a professional member of ‘visual artists Ireland’.His work has been exhibited internationally.
paintings. top left: “Hinterland” Spring. bottom left : “Hinterland” Summer this page top right: “Hinterland” Autumn,this page bottom right: “Hinterland” Soft day.
Ian Fallace I first saw Ian’s work on a visit to Bridewell studio and Gallery in Liverpool (UK) a few months ago and was immediately taken by them. The painterly abstractions seemed to be so inviting and a feast for the eye and the senses. In my opinion this is quality abstract painting by an artist who really knows how to turn the ‘power’ up on the visual expression. My intention is to persuade Tubes to make a full feature on Ian’s work that will go deeper into this artists well of creativity. Here is a extracts from Ian’s writing about the painting above, which gives an insight into the artists thoughts and sense of history and place.“...I had a small show recently in the Bridewell Gallery, which was initially supposed to be forone day only but ended up lasting a week. I wasn’t certain even the day before that it wouldhappen, as I had injured my back and could barely walk.One piece was shelved as it involved me walking to make it and I had to rely on others tocarry the paintings from the studio to the gallery. There were only three paintings and over thewhole week, footfall was in single digits, so why did I bother? I grew up in a village.We moved there from a town in autumn 1975. Events were based around the church andit’s various festivals or the village hall and it’s interest groups; Book club, Art club, flowerarrangers and growers of outsized vegetables. There were many pensioners living there, allof whom had experienced life during the Second World War and some who had experience ofthe first. WW1 began sixty-one years before we moved to the village. This meant that anyonesixty-six and upwards would remember something about it and would have been affected byit. Any male seventy-five and upwards may well have fought in it as boys lied about their ageto enlist and the authorities did very little to discourage this. Ninety-eight served. Fifteen didn’treturn.Today the village has a population of seven hundred and I imagine that hasn’t changed verymuch since 1914. The impact of this mechanised carnage was huge on this village and everyother village, town and city in the land. The memorial was in the middle of the village withthe names of those who served and died carved into stone. There were repetitions of familynames. One of my friends, had a representation of five of his family, another had four. Whathad seemed like a great adventure to many volunteers soon became a nightmare and thosethat returned were changed forever.At secondary school we studied the war poets and as my knowledge of the subject grew, sodid my anger at the pointlessness of it all. It was always difficult to watch the survivors, HarryPatch and the other centenarians break down before the cameras, remembering somethingthat happened eighty years before; men who lived long lives and suffered for their longevity.Harry Patch, the last survivor who experienced the trenches, died in 2009 ages 111. So whatis the relevance of this back-story? Well, I felt that it was important for me personally, maybeas some kind of exorcism, to mark the Centenary of the Armistice.
above: All Quiet on the Western Front - in Flanders Fields”I ended up hanging three paintings - two from a recent exhibition and a third new one. Thenew one, ‘All Quiet on the Western Front - In Flanders Fields’, was based on the poem ‘InFlanders Fields’.It references the rows of crosses and poppies between and the rows of a ploughed field. Therhyme scheme is reflected by the change of reds used for the rows, one of which is a chlorinegas green separating the first nine lines from the last six. I used soil mixed with the paint forthe bottom half of the work as the majority of my paintings are tied to the landscape in someway and to reference the mud bath that was the trenches. The top half is a lighter ephemeralspace.”
“The second painting was ‘Elysian Fields’. Again, the landscape influences the compositionwith rectangular field shapes interlocking and a break between land and sky. The autumnalcolours are a simple metaphor for the end of the day/life.I felt the relevance of the Elysian Fields as a place where the Greeks believed their heroeswould spend eternity fitted with the theme of the exhibition..... “ ...finally, I included ‘Islands’ as an antidote to the other two as it is about communicating. Two flag-like shapes interact amongst a starry universe, if they don’t then they are just lonely islands in the emptiness. It is an anti-isolation, anti-war painting. It is about love.” written by Ian Fallace for Bridewell Studios Liverpool (blog) www.bridewellstudiosliverpool.org
Kelvin HarveyUntitled. Work on paper. Acrylic and collaged acrylic Kelvin Harvey is the sort of artist thatpainted paper. 50x40cm ©Kelvin Harvey insists that it his work that should speak for him without any need of summary.painting above: Descending into Chaos. Acrylic, mixed And that is fine by me and Tubes.media and 24 ct Gold Leaf on canvas. 100cm x 100cm.©Kelvin Harvey However, we can tell you he employs abstraction as his main means of expression and it appears that he is using a host of mediums to gain the look and feel of his work. I do like his style, hence his selection for TAG #4 Kelvin’s subject matter does vary with some of it evidently based in ‘reality’ and his environment. The title of each work gives the viewer an indication of what the artist was considering when creating the work (which is a form of short hand for a summary). He has stated (in the past) that his ambition is to build a portfolio of quality art. These paintings seem to indicate that he is doing just that.
painting above: Baltic Door. Oil on canvas (applied pallet knife). 50X 40cm. ©Kelvin Harvey painting right: A Moment of Exuberance. Acrylic,enamel and gesso. on canvas 100 x 100cm. ©Kelvin Harvey
painting above: Untitled II. Acrylic and house hold painton canvas 100cm x100cm. ©Kelvin Harvey painting left: Totnes Shimmer. Oil on canvas. 60cm x 40cm. ©Kelvin Harvey
When Tubes asks artists to take part in TAG the offer is alwaysmade to the artists is that they can write in their own words abouttheir Art. A few take up that opportunity. Peter Murray is one that didexactly that. Here Peter wrote about of his own Art Journey.Peter Murray painting above: untitled ©Peter Murray“When one becomes consumed by a subject, there is atendency to find connections in every facet of life.”Synchronicity makes sure that a committed artist sees and feelsthe opportunities which present themselves in most situations,particularly when it comes to abstract interpretation. Although Ienjoyed art at school (the subject was combined with architecture)my work was at best, unremarkable, culminating in an ‘O’ level, thenshelved for many years.My mother painted, as did her mother, but for a long time my ownartistic endeavours lay dormant. I did, however, visit exhibitions andgalleries and was always comfortable around “arty folk”. In particularthose individual thinkers whose oddities and eccentricities madethem interesting.When I joined an art group in 1996 I found great solace inexperimenting with mediums and techniques. Demonstrationsand workshops ensued and the magical world of wet-on-wetwatercolours, marbling, silk painting all played their part in myarmoury. I was around like minded people (some have become goodfriends) and my enthusiasm knew no bounds!That group was a good springboard for my journey. One of thedemonstrators suggested I apply for membership to the Society ofMarple Artists (which had a 2 ½ year waiting list in the mid/late 90s)and since 1998 I have “hung my hat” on Thursday nights there.A seminal moment was when a demonstrator informed the group that“it is essential to finish a piece of work, before starting a fresh one”.A month later, another demo artist suggested it was a good idea tohave half a dozen pieces on the go, so that “when you get stuck, youcan work on one or more of the others and come back to it”.Wow! That was dynamite for me and I knew the opinions, processesand techniques forwarded by art practitioners were relevant onlyto them. The contradictions continue to fascinate me (i.e. portraitpainters who are adamant that (a) “start with the eyes” and (b) thosewho advocate “leave the eyes until the very end”. In other words ourworld of art revolves around perceptions, each of us having our owntake; literally a blank canvas.
Over the past twenty something years I have “played” with acrylics, inks, rattle cans and encaustic wax to name but a few. There is something magical about making marks with scrapers, brushes and impromptu tools and applications. The whole point for me is about having fun; the “zone, flow” call it what you will is a fantastic place to be, calming, soothing, occasionally frustrating, but always enjoyable, ‘my studio, my sanctuary’.When I was contacted by Wraptious.com and five paintings were taken on to become prints, t-shirts and greeting cards I felt I was making progress and I have found building relationships with galleries interesting and a subject in itself. I have recently been asked to join a local group (DART – Disley Arts and Recreation Together) theaim of which is to hold Community Together events to bring arts and crafts to a wider audience, my own role being demonstrations of paint effects and techniques. The journey continues ....
painting above and left - untitled.©Peter Murray
TAG Tubes Artists Gallerythe leading art showcase on line and inprint go to: www.painterstubes.gallery
Liz Doyle, David Eastens, Shahin De Heart, Riccardo Vitiello, Myfanwy Williams, Ian Fallace, Liz Cleaves, Paul McCloskey, Volker Mayr, Kelvin Harvey , Peter Murray.TAG#4 Tubes Artists Galleries special issue. Abstract paintings by eleven contemporary artists