Unfurl a roll of paper to walk across the marsh grass fields of Kenilworth.
This is a landscape that once had an artificial lake to defend the castle
And where the longest siege in English history took place in 1266.
The medieval scream of arrows is not conducted into my middle ear.
But an image develops in the liquid memory.
Bright young things, mustering arms, on the footbridge.
A battle of poohsticks in the brook.
Laughter resonates even at times of civil war.
The paper curls back.
You are on a mission, but beware - there is no past and there is no future.
Baudelaire did not fly or Rimbaud die and Lemy Caution is missing in action.
Rendezvous: "Brown tie?"
Password: "And braces!"
I am waiting here for the French agent with feathered hat.
The phone does not ring.
I am distracted by the kamikaze dive of a demented fly.
In one hand, a book of poetry by Anna de Noailles.
The other to mouth, sipping champagne out of a cracked glass.
I spy a refracted card being delivered under the door.
This facet a clue? That one a trap?
At the Institute I am ushered into a meeting room.
The silhouetted outline of a man is framed by a monstrous clock.
It has no second or minute hands.
The machine activates and my brain quivers.
I come round on the floor in a darkened cell with a folder in my hand.
I crave to read the contents, but.... I... wake.
I... wake on a bench outside the Louvre which is turning inside out.
My memory has been semi-erased.
Was I.... a.... European son?
Painting 1: The Poet's Elixir After Baudelaire
Or in other delirious words: "Pretty witty twoon. Swoony noon loon."
Acrylics and collage. 10 x 14"
Photo: Down and out in Paris
Hotel de Champagne et de Mulhouse, 1987
Advance Computer Institute, Rue du Faubourg-Montmartre, 1987
Folder 1986: Visnews
International news agency that broadcast the first daily satellite news service.
Drawing 1: Louvre, Outside In
Oil pastel and pencil, 22 x 17"
Drawing 2: Louvre, Inside Out
Oil pastel and pencil, 21.5 x 19"
Cléo de 5 à 7
Directed by Agnes Varda, 1962 and starring Corinne Marchand
Alphaville: une étrange aventure de Lemmy Caution
Directed by Jean Luc-Godard, 1965 and starring Eddie Constantine
A blog entry inspired by seeing these films after an absence of 30 years; akin to waking from a dream.
I will overcome e-motion and travel sickness in search of past-tense, future-flex.
Don't miss Britain.
Make the most of your visit.
oil pastel, pencil
8 pages with foldout, 50x21cm, 2018
Welcome booklet number 2.
Welcome to our diamond isle in both 4k and 18k.
Welcome to houses and apartments in the corseted green.
Welcome to Cola Costa Coffee.
Welcome to the smoking tower of art and loopy loops of magnetic tape.
Welcome to the purr-fecf talk and walk.
Welcome to surgical appliances and bottled scent of Bambi.
Welcome to a big beautiful sleep.
Welcome to a breakfast of fig and fennel hormones.
Welcome to your mood music.
Welcome. Please take notes and make any necessary drawings.
Welcome booklet no. 2 (with notes and drawings)
oil pastel, pencil
20 pages, 50x21cm, 2018
A pack of 8 art cards are shuffled and dealt out to the players.
Maybe they are more like Tarot cards, predicting a narrative of past-present-future.
What do you see? Please feel free to re-arrange the order and tell me a story or mood.
My game was conceived while researching and viewing Charlie Chaplin movies.
Also editing a short dramatic film about an aged tree and hard earth.
I'm running both silent and sound moving pictures in my mind.
I wonder if these drawings represent a parallel universe I travelled through last week.
One where I filmed a dance under the Vaults on Leake Street.
Searched for a tabby called Doorkins Magnificat at Southwark Cathedral.
Laughed in Bay 56 under the Westway in a space re-claimed by the community.
Cried during the Grenfell public inquiry held at Millennium Gloucester Hotel.
Dance, search, laugh, cry.
I may be the author of this game, but recall that chant - La mort de l'auteur.
Shuffle the pack, deal the card, play the game.
Greek column at Willesden High School
2003, oil pastels, A3
Love vase for Jacqueline Augustine - Rice and peas and ackee!
2005, Acrylics, A3
War vase for Achillea Achillea - I'll kill ya, Achillea!
2005, Acrylics, A3
Visionary vase for Mr Cobb - Artist, Musician, History Teacher
2005, Acrylics and Oil Pastel, A3
British Museum, Friends Opening 26/11/07
Ian Jenkins discusses the vanity, erotica and power of the Elgin Marbles
The Future Sound of London
Acrylic paint, charcoal, inks
22 x 25 inches, 1995
There I was in 1995 projecting into the future with an acrylic painting, titled, The Future Sound of London (image above). And here I am in 2018 looking into the past with this drawing titled, The Past Sound of London (image below). Each image was started on New Year's Eve in those respective years with an ambient musical soundtrack playing in the background. Life Forms by, yes, you should have guessed it, The Future Sound of London (FSOL). That music sounds as fresh as the day it was recorded. It still has the power to unlock hypnotic grooves of improvisation.
I am struggling to recollect the circumstances in which that first painting was composed. I had moved back to London following my post-grad burn out in Wales and was attempting to act out Tracey Emin's advice for an artist, get yourself a well paid part-time job, but one that you don't like too much. I was making art only for myself: my first solo exhibition was three years away, thinking about full time art and devising art projects at least a decade in the offing. Taking documentary style photographs and then retreating into the dark room was my bread and butter. Politically, Britain was ripe for a sea change after a long period of moribund Tory rule. We were on the brink of the Blair years which gave Young British Artists in London a fashionable sheen, the mirage of you never had it so good. I sense in the abstract brush work an optimistic desire to go with the flow. I had not really made a mark as a public artist.
Now in 2017 that has moved into 2018, after the promise and failure of successive governments (can it be anything other?), I am working full time as an artist and devise my own multi-layered projects. I haven't used paint for years and drawing as an aid to thinking or constructing filmic and narrative potentialities, seems to be the order of the day. The drawings now are a body of work, rather than just isolated images. I'm not necessarily certain they are any better than those first steps, but have a different contextual meaning and community reading.
In the latest drawing, there is more of an organic, biomorphic sense of being. The architecture of regeneration and gentrification, that has plagued me over the past few years, is no doubt encoded in the DNA of this image. Although it looks back onto the 1995 drawing, it also peers nervously into the future of an ever growing and unstable London landscape. The faces of people come in and out of focus in this vision of past present future. But their identities are confused as the British main land redraws its European boundaries.
This drawing was started just before attending a gig at the Coronet, I was dancing my way into the sketch, all the opening marks made by a process of dance like movement, following the flow of the soundscape created by FSOL. Ironically, that playful orientation was being rendered in a locked down state. I was expressing a niche living in London. There is a corporate feel to these new interlocking shapes as compared with the original. The uber rich or well off are increasingly at the centre and suburbs. That green space is a gated commodity. I sense residents and us artists struggling to situate ourselves and finding a space for being, opportunities for expressing, ways of connecting to an audience or patrons. This is a hyperactive, wired up landscape. The impact of the world wide web and social media is one of the most decisive social change since 1997. So while that darkroom is still there, increasingly my art will be experienced on digital platforms like this or more likely a screenshot that is recycled elsewhere.
The Past Sound of London in the Future
Oil pastels, pencil
51 x 73 inches, 2018
This is an arts project about the history of the Coronet Theatre from 1872-2017.
The ghostly presence of a Victorian actress, Marie Henderson, will be our guiding muse.
The Melodramatic Elephant in the Haunted Castle will be both a performance piece and an exhibition.
The play will be staged at the Coronet on the 7 November 2017.
The exhibition will take place at Artworks Gallery from 11-23 November 2017
Our project is a collaboration between a visual artist, theatre director, actors and residents of Southwark.
The work will be made available to future audiences by being deposited at Southwark Archives.
The Melodramatic Elephant in the Haunted Castle is the culmination of several years of research into the history of the Coronet. It has a deep-focus on the actress, Marie Henderson, who has hitherto been consigned to the margins of academia. Our challenge is to creatively bring her to life: the pleasures and pains, the life-pangs of a Victorian actress; one who transfixed her audiences with performances that put the oomph of drama into "melos." She will be ghost skating through our artistic timeline, materialising at pivotal moments in the history of the Coronet. This might include the WW2 Blitz and a coda section when Marie trips the light fantastic with raving clubbers. She will transport us from the age of corsets and crinoline to silicon implants, from Bedlam to Brexit and beyond.
I will be using drawings as a medium to explore ideas and emotions, akin to a visual storyboard. The aim is to produce a narrative body of expressionistic imagery that responds to the architectural spaces of the Coronet and poignantly documents its final heart beat. Because our project is fundamentally sociable and public, there is the challenge of inspiring others to participate in the process of making and thinking. I look forward to sketching out the memories and experiences of people who once visited the Coronet as a cinema and those who still club today and sent into a trance with the musical beat. The icing on the cake would be discovering a senior resident, one who is over 100 years of age, who has a story to tell about the Coronet when it was a theatre.
Collaborating with John Whelan and the People's Theatre Company is top of my creative agenda. John has worked on history-based community arts projects in Southwark, but probably none on this scale and ambition. The durational nature of this project will allow John and the actors to become more involved in the development of a poetic play about the history of the Coronet and even get to source their own period clothing in more nuanced detail.
John and I will be exploring ideas and themes of mutual interest. For example, the origins of theatre and how this fused with music to create the melodramatic play and its link to cinematic forms of expression; my educational background was in film studies. We want to show how performance and melodrama are still relevant in contemporary society.
Double bill film poster for The Crimes of Stephen Hawke and the House of Mortal Sin
Melodrama meets horror, Tod Slaughter slices Pete Walker, 1930s resonates with 1970s
Oil pastel, 40x64 inches, 2013
Sketching the spirits that inhabit a staircase at the Coronet, 2017
Shop till the zombie drops
Cultural memories of the railway arches and the shopping centre at the Elephant and Castle seem ripe for melodrama and horror.
Faith, Hope and Charity
The life of Marie Henderson and the melodramatic play she starred in called Faith, Hope and Charity which introduced ghostly special effects on to the Victorian stage. The play is a domestic drama, with three murders, one suicide, two conflagrations, four robberies, one virtuous lawyer, 23 angels, and a ghost.
Singing and sketching in the rain
At the Walworth street festival on 22 July 2017, children sketch images for a scale model of the Coronet and adults talk about their memories of going to the venue when it was an ABC cinema.
History and legacy of Melodrama
Professor Jim Davis and Dr Janice Norwood provide a fascinating overview of melodrama's rich diversity and defining characteristics. We discover that melodrama was one of the most popular forms of entertainment in the 19th century. Although it was often dismissed as a cultural product, there is a growing awareness of its importance and how it influenced both film and TV.
Melodrama Workshop - Introduction
We had great fun with it, as it allowed our imaginations to run riot. The only rule we followed was that each beat of the scene had to heighten dramatic tension - preferably through the means of some jaw-dropping revelation.
Carolyn Cronin from the People's Company - Masks!
I realised how masks conceal the wearer: you’d expect to see their eyes and mouths behind them, but you can’t – the mask itself is the focus.
Interview with Sam Porter, manager at the Coronet
I’ve walked around this building on my own, at night, in pitch black, with just the little fire lights on and not felt uncomfortable at all. Apart from one space.
Culture and Capital at the Elephant and Castle
What makes the E&C Theatre important was that melodrama was established and maintained here when other theatres either adapted to contemporary dramatic fashions or succumbed to the cinema; it even achieved a brilliant burst of fame in 1927.
82 x 56 inches. Oil pastel, pencil. 2017.
Poem to a drawing
Are we walking down a corridor in the National Portrait gallery?
Walls lined with the great and good who have killed and conquered.
This is all rather tiring and I am looking for somewhere to sit.
Commotion in a room ahead, left or right?
A gust of wind blows us into the Euro wing.
We see a mother and child with candle and umbrella.
A man checks his flies are zipped.
Above his head, a tricolour ink roller in suspended animation.
On the ground, footprints of Prussian blue.
Centre stage, chaise lounge.
What is going on? Can we sit here?
Maybe in the next room, next to a woman and her copy of J. G. Ballard's The Atrocity Exhibition.
In front of a painting of the British Prime Minister getting fruity with the American President.
Is that Robert Rauschenberg trapped in twine from a plumb bob?
He appears to be pointing backwards and forward, one hand to 1974, the other, 2019.
Can we trust an artist to TELL US EVERYTHING about this space within space
That has spilled out from a box labelled Highland Shortbread?
Where can I sit?
My legs are killing me.
Notes to myself
This was sketched immediately after visiting the excellent Robert Rauschenberg exhibition at Tate Modern and during the United Kingdom government's formal notification of withdrawal from the European Union. This was also the week when The Daily Mail newspaper on March 28th featured a photo of Theresa May and Nicola Sturgeon with the trivialising head line: “Never mind Brexit, who won Legs-it!”. On the same day, a new 12-sided £1 coin became legal tender across the UK.
Pondering all these matters, I started to sketch a scene using Robert Rauschenberg as an enigmatic muse. His free and easy approach to materials, for example, building an umbrella or fan into a painted surface, had me thinking about how to use everyday objects as part of my art practice. I turned to a biscuit tin in my studio. I don't know why I started to collect objects in a biscuit tin or how long they have accumulated (more than a decade now), but this box with random objects ranging from coins, fuses, tea coaster, plumb bob, pencil emblazoned with "Tell me everything," was raided for inspiration and incorporated into the drawing. This was my equivalent to Rauschenberg's "combine" although I have made no concession to three dimensionality. There is added irony in that the box has a culinary connection with Scotland; a nation destined to have a falling out with the English over the issue of falling out of Europe. All these objects and related ideas came tumbling out of the box and into the composition.
Some other allusions for the cultural critic to register:
As we march towards the spring Equinox
Clouds blink and then cry outside my West London skyline.
Faint rays of light bend through the veiled window of my studio.
In a mere ten minutes, a dull tone of grey pastel takes a walk
With confident, improvised strokes.
As I step back and view, Lautreamont comes to mind:
"As beautiful as the chance encounter of a sewing machine
And an umbrella on an operating table."
I step forward and substitute that sewing machine for a tattoo machine.
There is also no need for an umbrella as the clouds have dissolved in real time.
On the picture plane, we have a domestic interior looking out across suburbia.
A machine vibrates and draws blood.
This is a cottage industry of body art.
Bobbins your uncle!
Bobbin's your uncle!
A New World Order
Pastel drawing, 60x81", 2016
The Grand Christmas Comic Pantomine
At the mythic Elephant and Castle Theatre
Boxing Day, December 26th, 1876
Trump and Farage;
And the Knight that fought and gained the day
Donnie Trump ------- performed by Miss Marie Henderson
A powerful and scheming knight in love with Nigella and himself
Nigella Farage ------- performed by Mr Walter Grisdale
Mistress from Ing - Land who whip lashes her Euro body politic
Hilaricious Clinton ------- performed by Miss Clara Griffith
Deposed Queen trapped in the world wide web
Theresa Maypole ------ performed by Mr Watty Bruton
The titular head of state who is forever Brexiting, stage right.
A production on a grand scale with thrilling scenes:
Donnie and Nigella riding the headless horse of the apocalypse;
Hilaricious hanging onto the tale of the headless horse;
And Theresa, trying to exit stage right, but being trampled under horse hoof.
All told, a magical transformation.
This new world order has to be seen to be believed!
Trump and Farage has been expressly sketched for this theatre by Constance Graf.
1. Pantomine is a type of musical comedy performed in the United Kingdom, generally during the Christmas festive period. It has gender-bending roles and a story loosely based on a fairy or folk tale.
2. Henderson, Griffith, Grisdale and Bruton formed the cast of the Elephant and Castle Theatre company in London between 1875-1880. Marie Henderson was also the directress of the company.
3. If you want to sample a pantomime, here is a link to Valentine and Orson. This text was written in 1877 by Charles Merion and is his third adaption of the medieval romance tale about twin brothers abandoned at birth, one raised in the royal court and the other in the woods. Another version was the first play performed at the Elephant and Castle Theatre when that was opened for business in 1872. The theatre building is now the Coronet Club and this is due for demolition in early 2018 as part of the regeneration of the Elephant and Castle area.