at the local
October 22, 2012
At the local, we are very lucky to be able to see a wonderful exhibition. The gallery has become an important ‘facility’, a horrible descriptive noun, so maybe better to say that the gallery has a local identity now. Yes, I know that I shouldn’t photograph art in this context but I want to show how a piece is hung and works in relation to the line of the roof. The staff tell me that Gillian Ayres was also interested in how her work would be hung and so, appreciated to the maximum. She was also interested in the staff too. Hurrah!
Cwm Bran (1959) below – vibrant – and I read something of the landscape but also having a feeling about figures and movement. Ayres (take a little time out to watch this video) might have another opinion and she’s quite forthright on the needlessness of figures in her work. She seems to leave it all to the viewer . . . I like that. Colour, area, marks and colour again that touch the soul. Paint, as liquid, put on the canvas with the hand as well as the brush as well as pouring out of the can! Gillian Ayres is very popular in this house – but don’t get overly excited as it’s only a print.
Visiting Tate Modern and The Tanks, spatially much larger than our small gallery, lighting bounced off the polished concrete floors and contrasted pleasingly with the rough texture on the old walls – splats of colour within the geometry and the shafts of light made a composition.
The groups, a school group below who have to wear a uniform of a different sort . . . and a very large number of people, maybe 50, who acted out a performance. Fairly bizarre as there was no knowing who was performing and who was just passing through – succesful and inspiring! Lots of the rest of us wanted to join up! Those who know tell me that Tino Sehgal’s work operates on unexpected encounters, hence the little information available in the gallery. ‘The people you witnessed in the Turbine Hall were part of the current Unilever Series by artist Tino Sehgal, titled ‘These associations’:http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-tino-sehgal-2012
Colour and tone – this could be an abstract landscape . . .
. . and below a pic taken on the phone – I really like this – waiting to meet someone who I last saw many, many years ago.
But back to our local and the view out which is a requirement here – we all look to the sea – full of liquidity. It seems to have been all about liquidity and the thin vein of life.
Caught — the bubble in the spirit level,
a creature divided;
and the compass needle
wobbling and wavering,
Freed — the broken
and the rainbow-bird
from the narrow bevel
of the empty mirror,
it feels like, gay! Elizabeth Bishop Sonnet