Those are questions asked by the artist in the illustrated poem – PALIA HORA – which is Greek for Old Capital City (or town). Palia Hora of Aegina island once was the home of the entire island. It was in the centre of the island and afforded (and still affords) magnificent views over the entire Saronic Gulf – which was it’s downfall, as the inhabitants turned to piracy – and the Sultan of the Ottoman Empire ordered his General (Barrabus) to destroy the town and kill all its people – as a matter of a lesson to all – The Greek people built the town over a thousand years – and each important family had their own Chapel to worship God (Greek Orthodox) . Barrabus – (who mother was Greek) however left 32 chapels standing in remembrance of his brother (who died at the early age of 32) and out of respect for his mother. Today the Chapels have been restored (respectfully) by the Greek Church and visitors can now see murals in the chapels from the 12th to the 15th century by master Greek painters whose names have faded with time.
I strayed across an interesting old video on You Tube. It was was on those that you find popping up on a feed after you have watched something similar, which is annoying. But, it got me thinking about the relationship between Artistic freedom and Modern Religious Art. This particular You Tube discussion, come lecture, come educational piece, was presented by a line up of tenured academics and young post graduate teachers.
The panel argued how Contemporary Art institutions reacted negatively to work that was based in some sort of religious subject.The discussion started after an initial lecture by one of the Academics, David Thyrell. So began two hours of surprising statements, amusing quotes, some fairly logical reasoning, heart felt speeches and many contradictions from an art academic viewpoint.
Thyrell reckoned that… “Only Art that is critical of (western) religion of faith is acceptable as Contemporary Art. And all other art that could be read as religious, is translated to one of a post minimalistic view.” (And)…”that all references to faith and religion is edited out at source”. (And)…”the contemporary Art world does not seek any debate on this form of art because they see it as non-progressive, as propagandistic and not supportive of an advancing culture or indeed, enlightening mankind for the new centuries ahead of us.”Thyrell spoke with passion and summed up his lecture by stating…”it seems, that religious work that is non-specific, for example, non-stated religious, ambiguous or totally abstracted with very loose associations, are acceptable as Contemporary Art. Providing the images are not from a Judeo Christian slant. However, the tribal, the Asiatic or the cultism subjects are OK.“
Judaeo-Christian made up the bulk of the audience (note: it was held at a Roman Catholic University) I guessed they must have been appalled by the status-quo of the implied bigotry against religious art levelled against the- ‘Artists of Faith’ – as they call themselves. For me personally, there is no need to be religious specific to appreciate (or create) Art that is good, even if that Art owns its very existence to institutions of any religion persuasion who sponsored it, or indeed created by an artist that holds a particular belief system or faith.
Good Art is what floats my boat, I don’t care who or why or for whom it was created for.
As for the rest of the Art that floods the web and the mass media art reviews, much of that Art that personally I find sort of shallow, egoistically based, trendy or with intellectual invested admiration intentions, I simply pass quickly by, metaphorically speaking, without so much as a cursory thought. For me to be anguished by an Art as the above, only goes to validate it as important to human cultural advancement, which I think it is not.
Most artists, (those I do know personally), when looking at a work of art that could be deemed as ‘Religious’, tend to ignore the possible original intended propaganda or dogma of it, but rather they concentrate on the pure magic of the Art work in front of them. For example some the work of by Pontormo and El Grego, to mention only two (religious) painters of the far distant past, whose work I greatly admire and gain much from. After a while I began to feel that the lecture, come debate, was myopic, but Thyrell’s argument did instigate an examination of my own thoughts on the subject of Modern Art & Freedom of Creation and Modern Religious beliefs in our, so called, multi-sectarian developed Western societies.
If a contemporary artist can go beyond an intellectual subject matter and demonstrate a visual power conducted via an innermost and deeply held belief, then surely that is still a vital and sustainable contemporary Art, is it not? No matter what religion the creator of that art subscribes too, or not as the case maybe. After all, isn’t atheism a brand of religion by another name?
If we look closer to our own time, rather than the centuries when the Church and Monarchies of Rome and Spain dominated major art commissions, say from the early and middle centuries, we can find a new sort of religious art. Malevich, Kandinsky, Mondrian and the like studied theosophy and talked of a ‘spiritual’ art. Pollock, used the practises of the the Indian Sand Painters, which involved connection with ancestors souls or spirits. Rothko and the gang of colour field painters also spoke of mediative involvement and introspection. Are all those artworks a form of religion? If you have ever visited the Rothko ‘Chapel’ in Texas, you’ll know what I am talking about. And what of Chagall. Are his paintings nothing more than illustrated nostalgia based on childhood memories of stories taken from the Old Testament? Or let’s take Vincent Van Gough, was not his paintings a projection of the love of nature reinterpreted through his own deep seated belief in a universal God? How about Agnes Martin or Sam Francis, each with a Buddhist inclination for transcendentalism or meditation. Is that not religious Art ?
In the early 20th century the word nihilistic art was being brandished about to describe the work of the Futurist (Italy), whose dogma was Machines and War to cleanse society and shock it out of it’s perceived malaise [of the time]. The Dada movement used the same framework with banal poetry, non-sensical drama and outlandish visual presentations [to hide away from and in reaction to the horrors of World War One]. Again, the essence here is that the Dada movement believed in something – however abstract that was – rather than nothing. And this obtuse oddity of their belief carried on manifesting itself decades later as the impatience of post-modernist [young] artists and the ambitious driven post-post modernists, and the current belief that ‘selling art, means that it must be good ‘Art’ – And made by a succesful artist (rounds of applause by living painters, can be heard here on instagram and facebook) which where I guess we find ourselves in today’s visual art world.
Though, just maybe the web is changing the ground rules. I don’t know about you, but when I view art on the web, I find more and more of it has a growing and obvious ‘belief-structure’ of some kind behind it. And much of it is good Art, mostly created by ‘unknowns’. Sure, there is still that twee stuff and the obvious bash it out to sell it for financial gain ‘ hamburger art’, not forgetting the overly academic art whitterings of art professors and so called art intellectuals who try to convince the audiences in the cities of the world, that this piece of stuff or that offerings of purely conceptual ideas, is great progressive Art (and not just simply a novel or good idea). After all it does put a high monetary value sticker on it, provided it is accompanied by the obligatory academic recommendations, especially if the Art has the blessings of Art Directors of state run institutions.
So, do Artists have total freedom to create what Art they want? Maybe not entirely, if you agree with David Thyrell in the You Tube video I mentioned earlier. Is Religious Art (in all it’s manifestations) making a comeback? The Zeitgeist signs suggests it may well be, but not in the ‘normal’ sense of the word. In this world of the politics of infusing the inhabitants with psychological terror, global climate change fear, mega disaster predictions, the accelerating greed for money and power, irresponsible political leaders and not forgetting the inhumanity to humanity we witness daily, a world that we live in today (and perhaps always have). Maybe it’s not such a bad ambition for visual artists to ascend to a higher level and start to transmit messages of hope. And if you’ll pardon the religious, (come 1960’s hippy reference and of course the Artist known as John Lennon) visual art messages of Love and Peace, for all who reside on this tiny insignificant planet tucked away in the corner the limitless time and space of the universe.
As David Byrne once wrote,
“Heaven is a place, where Nothing ever happens.”
So, now I have to gather my courage and meander slowly to my studio, where another blank space awaits. I wonder what will appear? I guess I just have to have faith that something of real artistic value will show itself, maybe even holding the restorative creative power of the universe itself ?
One never knows, that’s one reason to be an Artist, isn’t it?
©2018/2019 written by Denis Taylor, Artist and Editor of painters Tubes magazine
“Defining the Elemental”
Dean Clough. Halifax West Yorkshire
27th October through to 12th December 2019
Preview of the exhibition
This is a show that has ten painters and writer who has created poems for the works on exhibition at the Crossley Gallery venue inside the expansive Dean Clough complex.
In the introduction David Traves points out the inspiration of British 20th century painters such as David Bomberg, Leon Kossof and Frank Auerbach, that some of the participating artists may have been inspired by, although that is referring to paint application, more than it is to the subject.
The original concept and title for the exhibition. “Defining the Elemental” was his original idea and it conjures up a whole range of meanings behind it. Essentially the artwork to be shown in the main is based on nature, although one or two of the artists have expanded that to include the human figure and one or two with pure abstraction work that perhaps have broader and more expansive connection with the title of the show, i.e. “initium aquam” (Latin: Life began in Water) by Denis Taylor and “Rebuilding ground zero” by Jeanette Barnes. Richard Fitton, another fine painter, shows some new work, one in particular that is removed away from the ‘impasto paintings’ he is known for, to a more delicate surface finish and his growing concern for the drawing content in his creative output (e.g: “Amy” mixed media- on loan from a private collector). Ian Norris exhibits his highly developed semi-abstract work with his accomplished handling of paint, art works that are always based on dedicated charcoal sketches.
Nicki Heenan and Miranda Richmond are to exhibit their delightful and unique landscape paintings along with ‘imagined’ landscape paintings of Richard Clare and the more definite subject based work of Stephen Stringer. Shaun Smyth shall be showing a large panoramic painting of the Mersey Gateway Bridge, one of the many works that are to be shown at the Brindley Gallery, Merseyside with the exhibition ‘Constructing the Mersey Gateway Bridge’ (18th February 2018 to 5th April 2019). Shaun will also demonstrate his dedication as a skilled draughtsman by placing several charcoal sketch pieces next to his large painting. Barry De More, another painter whose work gives more than a nodding reference to Kossof and Frank Auerbach, will show works that range from the local environment of Keighley to Bradford (Yorkshire UK) to images of industrial workers on site.
All the painters and the work have a dedicated poem (prose) created by David Traves. His writing also extends to the brief introduction of the exhibition catalogue. David concentrates on his own reaction to each of the painters and their work and gives his own personal interpretation of the essence of each artist, words that are laid out in a classical manner, or style (i.e. short lines of words), but with deeper meaning behind them, meanings that perhaps encourages the reader to think more about the Art, and the artist(s) who created them.
All the work is available for acquisition by art institutions, public art galleries and the private art collector. Interested parties can contact, Crossley Gallery at Dean Clough (https://www.deanclough.com/) the artists directly or via painters Tubes magazine at: firstname.lastname@example.org
The exhibition runs from the 27th October 2018 through to the 12th January 2019
Dean Clough, Crossley Galleries, Halifax HX3 5AX
…way back in 1986, I decided to become a full time artist (painter). At least painting full time when it was possible. My self imposed rule #1 – was “to live for Art, and not live off Art.” – which sort of boxed me in, as I still needed to earn a living. This I did by working in a variety of jobs, writing articles and catalogues and selling the occasional canvas to interested parties, or taking on commissions, but only when someone asked me.
Somehow, years later, I found myself ensconced on island called Aegina. The island is close to Piraeus (19 kilometers) and thus Athens, where I could buy (piecemeal) oil paint, when I had the money, for Art supplies that is. It was here that I confronted the age old enemy of creatives – Ego – And it was here that I defeated it, albeit with the help of an invisible helping hand, which many people call their God. Unlike my home in Northern Europe, the Greek belief system was strong, and it would be unnatural for any creative not to absorb the atmosphere that surrounds them. The outcome was work which, up to then, I had never envisaged painting. This was linked to an incident, one that is too long to explain here, but let me just say, a miracle occurred that saved my life.
Time passed and my collection of paintings grew. Eventually I met my future wife, on another island, where I had accepted a commission to paint ‘Walls’ for a Greek friend who was setting up a ‘Rock and Roll cafe on Anti-Paros, a very small island in the Cyclandic’s. This chance meeting led to a Gallery exhibition in Stockholm (1995) and another one in the same year, before I knew where I was I had several shows, created a ‘radical’ group of mixed media Artists and curated, designed and participated in three major exhibitions, one of which was a commissioned [non paying] job for the Swedish Government Estonia Trust Fund and the International Support Group, that one took over four years to complete [sic: Heart 2 Art- Stockholm January 2002]. And all the time, keeping to my #1 artists rule, I was earning a living doing other things [in the UK] remotely or directly.
Almost twenty years later, and now an artist in the Grey hair sector, I and my wife could scrape together enough time and money to spend a month on Aegina [July 2018]. And, as luck would have it, we were able to take my ‘Greek-Niece’ up on her kind offer to stay at her family home – which just happens to be above my old studio from all those decades ago. Hence the ‘time travel’ headline of this post.
The studio had not been lived in or attended to for some years (my niece no longer lives there) And nature had began to take the place over. I resolved to spend the cooler mornings and late evenings bringing the place into ship shape. Mainly because I couldn’t bare to see it in that condition, and I wanted to ‘feel’ what I felt when I was a much younger artist, how I’d grown and developed in comparison, which was insightful. I recalled every single canvas I had painted there, in that place, the struggles, the ecstasy of a breakthrough and the disappointment of failure. I remembered the people, those characters who became more than close friends, now most of them, passed to the other side. At the back of the house I found my white plastic chair, and another for visitors, who would sit with me to discuss the painting I would have been currently working on.
I was time travelling, inside my mind, as I doggedly swept and moped, and swept and moped again and fought the weeds that had embedded themselves in ever crack and cranny. My human form bled salty water from every pore in its body, to cool itself down, but my mind was far to busy ‘travelling back in time’ to take any heed or warning to rest up and drink water.
At the end of all this, my voyage ended with a realisation of what I had actually achieved in Art per se, despite my rule #1, or because of it – And a truly personal sadness, that I could not share with them, that their high expectations, ones they were convinced that I could achieve in Art, had been.
So, ‘Time Travel’ is not easy – for many reasons – but I am sure it’s a trip everyone takes at some point in their life, the good, the bad, the tears the happiness. That’s what it’s all about, isn’t it?
posted and written by Denis Taylor. Artist and Writer.
issue #8 publishing at the end of April.
Painter and art teacher – Shaun Smyth has been documenting the amazing construction of the Mersey Gateway Bridge with some stunning paintings. “A Bridge So Far.” the title of the article written by the Editor of Tubes, gives the readers of Tubes magazine the inside story how the bridge was made through an exceptional talented artists eye….not to be missed. issue #8 – publishing at the end of April
As the Editor of painters Tubes magazine and a full time artists for 30 years, I have found that writing about other artists (in my case painters) gives me a sort of insider knowledge of how artists process their work, from both intellectual and physical angles. When interviewing other artists this special understanding forms the basis of our conversation(s) and helps me to get to the ‘pip-of- the-poodle’, as they say in Sweden. Little time is wasted on talking about the contingencies of painting- say, the choice of paint, the type of base preferred (board, canvas etc). Nor do I waste interview-time making a list of their education background, academic or art competition gongs, or any other ‘list’ that are usually intended to impress prospective buyers or potential representation of galleries.
I find that four to five hours is required to fully examine and get to the bottom line of the artists real reasons for living life an artist. What it is that drives them and provides the impetus to continue with ‘needing’ to create something original and authentic – This is often more complex than most people realise. Total confusion on the ‘why’ to create at all, is always that empty space that manifests itself as the struggle felt, as is the overpowering ‘need’ to gain not only recognition of ones peers, but also from total strangers, art agents or art galleries who may wish to actually purchase or value the work. Separation of the conscious ego from the subconscious creative mind remains an issue, as it has always been.
My conversations with artists helps me to confront some ‘hidden-agendas’ head on. ‘How to survive as a full time time painter’, for example, is often talked about, or rather, how difficult that is to maintain in the 21st Century. “Too many artists, not enough space to exhibit”, frequently comes up in ‘chats’ as an irritation, as does the gallery bias for one type of art over another or the ‘lottery’ of being singled out on the www for acclaim. Social Media addiction is always a problem for artists, especially for those that post every single brush stroke they make for the world to admire, i.e. “here’s one I started this morning..” type of post- (unfinished ‘updates’ of art is one habit that I personally abhor). Some writers of art prefer to ramble on the aesthetics of this or that work of art, using words that simpler descriptions would suffice quite adequately. And whereas that ‘academic way’ is probably a very 20th century way of writing about Art, it is still utilised today to avoid discussing the real practical issues facing painters. Or indeed what their Art is really ‘all about.’
The other difference, I have found, as an artist interviewing another artist is, I am truly interested in how a work or series of work came about, not in any ‘journalistic’ way, but as a fellow artist who experienced similar ‘awakenings’ or insights. It is also not that difficult for an artist who interviews another artist to quickly spot an ‘image-maker’ from an artist who ‘works’ to develop their Art rather than simply live off it.
For me, as the Editor of an Art Magazine, one that is devoted to ‘paintings and painters’ it seems clear that I should be looking to encourage other Artists to start to write about other Artists. If I am lucky enough to achieve that aim – I honestly think Art in general will be the better for it…
It was a very cold Easter Saturday that both myself and Marianne (sub-editor of Tubes) visited the Copenhagen Art Space for an annual exhibition. The venue is situated in the developing Nordhavbn (North Harbour) part of the Danish Capital City. The venue known as ‘Docken’ is a space which is expansive and well appointed. Art Space 2018 is an Art and Culture event that is approaching ten years old. The show runs over three days which may bring to mind Art Fairs in the UK, however this exhibition has the feeling of a Salon, rather than an Art Fair.
The warm laid back welcoming that you get when entering the show made up for the bitter cold wind outside and allowed you to really enjoy what’s on offer. It was a breath of fresh air to witness the space given to each artist who exhibited, of which their were Sixty, all showing high quality, original, authentic work that was diverse enough for everyone’s particular taste. I began thinking that the space and the way it was presented could be a guiding light for the UK and Artists to organize themselves to mount this sort of exhibition in similar spaces in the UK of which there are plenty available.
For me it was an opportunity to catch up with an old artist friend, Preben Saxild, an artist I had exhibited with in Stockholm at the Heart 2 Art exhibition in 2002. And one who’s work I have been following since before 1998. Preben has developed as an artist from being a very talented abstract expressionist, through to creating his unique landscape phase, and now a new line of work which is montage based, but with his own unique ‘take’ on life, one tinged with ‘irony’ political comment and sheer luxurious image making.
Besides some great paintings there were also fabulous ceramic and metal sculptures on show, again I wished that the UK artists and private art galleries could visit these type of exhibitions in Skandinavia and be inspired by the originality of the Art, which is far more adventurous, in style and subject matter, (in my opinion), than most of the UK visual art that I have viewed over the last four or five years (in commercial galleries).
Below are a selection of some photographs (©Tubes magazine) of the venue and the art.
… a number of readers have asked Tubes if they can view examples of our Editors Art.
After some ‘bullying’ we convinced him to ‘complete’ his own website, which he did only the other day. So, for them that asked and for them that are curious about the Editors own paintings, here is the link: https://denistaylorartist.wixsite.com/painter