… seen as the person you would wish to be, not the flawed person you are.


On the train from Johannesburg to East London, I felt physically sick that I had breached the taboo that people of good conscience should not have dealings with the apartheid state.  During that journey, my tiny transgressions of racial segregation went unnoticed by others and left me frightened.

From East London, I hitched up the East Cape highway to reach Butterworth where I would have three months experience in a hospital, a part of my last student year.

My choice of South Africa for my elective training was self consciously political.  The British establishment supported the South African state, characterised resistance  as communism, saw racial segregation as good neighbourliness.  Left-leaning factions exploited opposition to apartheid as an icon of their own ideological purity, likened Labour-led councils to Soweto, linked Conservative budget cuts to the Sharpeville massacre.  I took this opportunity to go and observe, to bear witness, if only to myself.

Past students had written gushingly of their pride in helping out in a small newly independent developing country called Transkei.  But Transkei was a lie, a Bantustan, its independence a sham, its purpose to deny people citizenship within the country as a whole.  This strikingly beautiful place had given South Africa Steve Biko, martyred during a 22 hour interrogation by police in Port Elizabeth in 1977, and Nelson Mandela, lawyer, leader of the African National Congress, then guerrilla leader, by then in prison for 22 years.

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I was woken at midnight and rushed to theatre.  A young man had been stabbed through the heart.  Our anaesthetist was barred from reaching us by the curfew.  Our only surgeon had intubated the patient but needed me to squeeze the bag so he could open the chest, release the trapped blood compressing the cardiac muscle and stitch the breach.  He had never seen, let alone done, this procedure before.  The man survived.  Every night, though, the morgue filled with those who, bored and angry, had occupied themselves with axe fights and had lost.

All equipment  was used and re-used,  lumbar puncture needles blunt and bent so the trochar would not release, suture needles sterilized briefly in disinfectant between one casualty and another.  Each day, in the medical clinic, cachectic old men in their forties, starving, presented only when the progressive malignant blockage in the gullet reached completion: a standard story, instant diagnosis confirmed on X-ray, no treatment, no palliation.  In the midst of abject poverty, there  was obesity and the devastation wrought by poorly controlled diabetes.  There was no privacy: long lines of people in front of multiple consulting stations in a large room.  A hundred waiting ill, convulsed in laughter as I tried to take a history in my comedy Xhosa.

Nurses who were princesses, were outstanding in their professionalism and skills.  There was a rag bag of medical staff, each with a personal story of how they washed up in this strange pariah backwater.  Bizarrely, several were refugees from oppression in other nations.

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I returned convinced that racial segregation was entrenched, that apartheid would be overturned only by bloody revolution, that the white tribe would fight back tooth and claw and to the end.  That was 1986.  This week, watching the archival footage, I was again reminded by how truly remarkable was the peaceful transition to universal suffrage.  Once again, I was moved, profoundly moved, to watch excerpts from the Peace and Reconciliation proceedings: Desmond Tutu, in the chair, breaking down in tears as one after another, individuals recounted their suffering or their crimes.

In the commentary, I heard many times the impression interviewers had of Nelson Mandela.  Here was a man who saw you as the person you would wish to be, not as the flawed person you are.

mangove swamp (2)

Sinfonietta to Fleshquartet

To the sounds of Janacek’s sinfonietta, I layered translucent pixels onto the uploaded blotswyrm

Now my mind dances to a different tune: a chance mention on the radio opening up new ideas for drawing.

Thryme

There is a place where, no matter how thirsty, it is better not to eat of the puthyrme fruit.  In that place, the deceased are cremated, no matter what the mode of death.

This picture began as a random doodle using acrylic ink into pools of water on the paper, forced to dry fast under a closely directed lamp and then worked into with chalks and ink.  As it evolved, it took shapes drawn from Christopher Priest’s imagined archipelago in which space-time is drawn into an vortex overlying equatorial islands such that flight is possible but traveling unpredictable.  In The Islanders (2011), he writes a travelogue, a kind of guidebook, and only as you read about first one then the next of these various islands does it become apparent that this is in fact a narrative of tragedy and love.  However, I think I first read the chilling story of the puthryme in an anthology, long before I had heard of the author or knew his books.  That story is called The Cremation and I found it again recently in The Dream Archipelago.  As I came close to finishing this drawing, its links to that story became clear in my mind.

Telegraph Road

This is the current state of my painting of cormorants, taking the work of John Bellany as a starting point.  

those bendy necks

I knew that I should paint the birds in layers, starting with a neutral of burnt sienna and ultramarine, tinted with rose, and then build in light and dark tones on this.

So what I actually did was this.   I mixed a mud of rose, viridan and whatever else was still wet on the palette and whacked it on thick with a knife while sort of dancing to the music of Dire Straits.  Cathartic but artistically challenged.

I had looked again at my first sketch and then tried to redraw the anatomy of the birds in chalk.  I corrected the sloping horizon.  I knew that I wanted to fade those background trees into the sky and bring a mass of smaller birds into the foreground at the cormorants’ feet.

Fishers Homage to JB

those bendy necks (7)

Someone kindly admired those bendy necks in a previous post.  This is indeed meant to be a strong point of the whole composition.  In a series of sketches, I set out to work out how the vertebrae articulate and skull and crop are positioned as the birds preen and watch their surroundings. I looked for lines of action and the relativity of shapes before drawing back in the plumage.  Here I must mention the excellent birdguide site which I used as source material.  Many people upload their photographs daily and they retain the copyright to their images.

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Gorilla art

I wanted to design a picture for my daughter’s sixth birthday showing her reading, leaning back against the warm body of a large animal: a dragon?  a bear?

The last few days  her favourite book turns out to be Anthony Browne’s Gorilla.  A little girl wants a gorilla for her birthday but is disappointed when she gets just a toy.  Then the magic happens … of course.

So she likes gorillas.  I finally got round to drawing this in the early hours of the morning.   Thanks to all the photographers whose pictures were accessible via google images – I didn’t have access to a high altitude tropical forest to work from life.

Birthday gorilla

Fishers – homage to JB (I)

Fishers Homage to JB (6)

I was in Edinburgh last month to give a talk on Merkel cell cancer.  While there I wandered into the Scottish National Gallery and the exhibition of the paintings of John  Bellany.  The body of work is overwhelming.  Huge canvases, many made of several joined panels.  As a student he made ends meet gutting fish in the industrial fisheries.  The imagery of working men and dismembered fish becomes a theme throughout his work.   In Kinlochbervie, though we see only 10, there is a strong evocation of the Last Supper.  In Allegory this link of the fishery to Christian mythology is even stronger with three haddock carcases of nailed up in the foreground and the boat masts and crowds behind like soldiers with their spears. There is nothing new in the fish-messiah metaphor dating from the acronym ICTHUS as code for a persecuted religion and the frequent use of fish in gospel stories.  Here Bellany re-uses this metaphor in a gritty industrial setting.  Bethel and The Obsession follow a shared structure with strange tube-like men set upon a stage against sea and sky.  Something in these latter paintings was reminiscent of photographs I have seen of great sculpted people  set looking out to sea on Easter Island.

This is the beginning of an idea: developing the sketches of cormorants to a full painting of the birds standing tall and lined up at the water’s margin, like icons or idols, carved monuments as much as living birds.  Here then are the first sketches.

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This is a collation of the field sketches (most posted before) from which I am working.  Snow is limiting access to do more this weekend.

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Finally, all credit to the BBC for systematically making the nation’s art available on line.  That license – worth every penny.

Entering the city via the sewer

One night I experimented with powdered charcoal and pastel, scraped into shapes with a time expired credit card and palette knife on a smooth resistant plastic surface.  The first version developed almost by chance to show a distant city, part obscured by mountains against a red sand-blown sky.

https://kestrelart.wordpress.com/2012/09/18/powder-and-glue-2/

The second piece was undertaken more deliberately.  I wanted to show the path into a city through a river that in the way of cities has become more an outflow for waste.  The city was to have been monumental.  The superstructure of the tram system was to spider across the foreground above the open sewer.  These two urban arteries were to draw the eye back to a massive city that reached up and up, piercing the clouds.

At the start, I built in the textured surface of the tram supports over the smooth waterway.  But at some point, the picture lost direction.  I began lifting out with tissue, lost much of what I had done and in exasperation scrubbed at the surface, abandoned it and went to bed.

After a week, I began to work into what was left in pastel, then ink.  I began to see an alien city, with distorted organic buildings.  I tested options digitally on the iPad.  This weekend I added stalactites to make clearer the structural positioning and added what is not quite a bird.

Here it is, not the image I had imagined at first, but one that grew in the drawing.

The way into the city.

Thick paint printing on mottled ground

I worked quickly, printing in layers with acrylic paint brushed roughly onto an aluminium plate, over the stained grounds shown in the previous post.

https://kestrelart.wordpress.com/2012/10/01/playing/

  

 

One limitation was the lack of planning – I was drawing from memory but struggled to project my mental image onto the negative plate.  Acrylic was a limited medium for printing.  It dried too quickly to print predictably but the thicker areas that stayed wet splodged and lost edges.  Some of this can be addressed by using a retarder in the mix which would allow me more time to draw negative shapes into the plate and control the thickness of the paint.  next week …

I hope to get time this weekend to go to the nature researve and do some simple drawing.

Playing

At the end of each school year, home comes a big folder of of all the lovely paintings my kids have done, week by week. We do a bit of slapping paint around at home too.   Some go on the wall.  Quietly, quite a lot go in the paper recycling.  When in the experimental drawing workshops, I often wonder what distinguishes us from small children playing with paint.  I sort of think, not a lot.

We seem to have been playing with monoprints: layering pigment on metal plates and pressing paper on this by hand.  The output from the group is very varied.  My own approach was at first to use quite dilute gouache, and some ground charcoal and chalk pastels.

I wondered what then to do.  I had made nine monoprints in rapid succession.  I could look at the pretty patterns and say – “finished”.  But a few purposeless patterns are not art any more than just looking at mountains or rivers or the appearence of stained tissue on a microscope slide are art.   Eventually, this is the stuff of the recycling bin.  Unless I use it.  Somehow.

  

I started to go over these first patterns first in charcoal (not sure about that) and then I explored printing again, using thickly brushed acrylic.  This is still experimentation.  but I begin to have an idea.  I am thinking of printing more sparingly over these patterns, building layers with rose and viridan to re–create an image of a heron on look out that I have previously attempted in watercolour (with very limited success).  A version I’ve not posted before is below and I’ve linked to the previous attempts also.

https://kestrelart.wordpress.com/2012/02/26/not-so-much-a-painting/

https://kestrelart.wordpress.com/2012/02/19/woodland/