Sunday, 26 March 2017

Anderson Rabin and Wakeman, Glasgow Royal Concert Hall, 24 March 2017

Diving once more in to the rich fonduefest of Messrs Anderson, Rabin and Wakeman, here's a few photos of the night.  Fortunately, it turned out to be a far, far better performance in many ways than the show in Edinburgh just two days before.


Squeeeeeellll!! etc.  Trevor is fabulous on his own stuff, bless him, but does the subtleties of Steve's work on the older songs no favours at all.  Trevor doesn't play just a single, beautiful note that's allowed to breathe and express a feeling - oh no, not when he can play 20,0000 million notes, very loud, all at once.
Jon may be small, but Lee is even smaller, as you can clearly see here.
Whe-e-e-e-ere's Wally?  Or was it Blakey from On the Buses?  Whatever, Lou the drummer caused quite a number in our group to froth at the mouth when he mucked about in an extremely irritating attention-seeking manner about during And You And I.  It was like parping a clown's horn during the 1812 Overture.



 I could take photos of Lee playing The Fish all night.



Jon had a bit of an accident with his roadkill tambourine.  Vigorous shaking caused a cascade of beads and bells to fall off and bounce in a layer over his little platform, causing a health and safety nightmare.  I was sure he was going to tread on a bead and go skiting off the platform, and I would have to leap onstage and surreally administer first aid to one of my rock 'n' roll heroes.

He did tread on one bead, but being the ever the consummate professional and Accrington Stanley wannabe, he deftly kicked it away with one of his little black bootees with the green light-up bits.


Trevor's top was held together with a piece of black insulating tape.


Thursday, 23 March 2017

Anderson Rabin and Wakeman, Usher Hall Edinburgh, 22 March 2017

Here's some front row photos from the ARW cheesefest.  Enjoy!

Squeeeeeeeeeeeeeeelll!!!!

Twaaaaaaanggggg!!!

Keytar time.

Bass player Lee 'Not Turned Up As Much As Chris' Pomeroy with Trevor 'Tight-Chinned' Rabin.  To be fair, Lee did a great job.
 
The hugely over-beribboned, sparkly, feathery, bejewelled tambourine kind of sums it all up.

A trim Mr Anderson spots Jaynee in the front row.
 
Journey to the Centre of the Girth.
 
 
 

Monday, 20 March 2017

Paisley Art Institute Entry

Thought you might like to take a look at the large painting that I've done as this year's entry to the Paisley art Institute.  This is a prestigious annual show in the Art Galleries and Museum in Paisley, which is selected by a panel.

This is an oil and collage piece on linen, called "Driving Rain, the Cuillins".  It's 90cm square.

Here's some close-ups of the collage, which uses tissue paper, paint, paper and hessian.  I like using collage as a way into exploring texture, which I then try to use as a way of informing my mark-making when I am painting purely in oils.


I'll have to wait until the beginning of May before I know if it's been accepted!  Fingers crossed...

Thursday, 16 March 2017

Sussex Modernism

There's a wonderful little exhibition on now at a venue I'd never visited before and didn't even know existed - Two Temple Place in London.

The show is called 'Sussex Modernism, Retreat and Rebellion', and is about the breadth and diversity of artists who lived in the south of England in the first half of last century.  


This of course includes the Bloomsbury group of Duncan Grant, Vanessa Bell and their bohemian friends and family, who were based at Cahrleston Farmhouse, Lee Miller and Roland Penrose at Farley Farmhouse, Eric Gill at Ditchling, and a whole host of other names who seemingly met and worked with everyone else - Henry Moore, Henri Gaudier-Brzeska, Eric Ravilious - the list just goes one.  The quiet seaside towns, gently rolling sheep-covered downs, and sleepy country lanes of comatose Sussex turn out to have been heaving with radical poets, artists, sculptors, composers and (oh yes) economists, in a writhing mass of political, creative and sexual activity, with Cezannes falling out of the hedges.  Who knew?

As well as stunning pieces of work from all of these artists and sculptors, there are sketches by Duncan Grant for Berwick Church - another real favourite of mine - and even Salvador Dali's Mae West Lips Sofa.

This is a thoughtful and expansive exhibition, set in the most jaw-dropping surroundings of Two Temple Place, a cathedral of oppulent oak carvings and stained glass.  In the stairwell between exhibition rooms, there is a wonderfully clever series of pertinent pieces of music and poetry playing, such as Debussy's La Mer which as everyone familiar with Eastbourne will know, was written in Room 200 at the Grand Hotel in 1905. 

(All I can say is, having been to the room, he must have had pretty good eyesight to see the sea from there, but maybe he brought his own binoculars...) 

Please do go along and see the show.  Read more details here.  It's free, and it's on until 23rd April.

Wednesday, 15 February 2017

"Force of Nature" Solo Exhibition in London

A huge thank you to everyone who came along to the preview of my solo exhibition at Duncan R Miller Fine Arts in St James's, London last week.  It was a great evening, and I really appreciate your enthusiasm and kind support.  Hope you all enjoyed the show as well!

If you missed the preview, don't worry - the show is on until 3rd March.  You can view all the work here, and take a stroll round the preview with these photos!

Here's the gallery from the outside in Bury Street.




Here's the first room, with a painting of the Mumbles in the Gower Peninsula in Wales on the left.


In the centre is a little painting of sunflowers which I saw at the roadside in Connecticut.  On the right is the Lizard in Cornwall.


At the top is the Ile de la Cite in Paris from Pont Neuf, and below it is a painting of Hammersmith Bridge.

This large painting is of the Campsies, to the north of Glasgow.


On the left at the top are the Falls of Dochart, below is a painting of the Glenlivet estate.  To the right at the top is Camusdarach on the west coast of Scotland, and below it is the Bass Rock at North Berwick.


On the left, yachts at North Berwick.  Top right, the Gower Peninsula, below is Sea Cliff on the East Coast with the Bass Rock.


This is the second room, with paitnings of Skye, North Berwick, Sandsend near Whitby, and Rhossili Bay in the Gower.


Main picture is of the Cuillins at Sligachan.


Rhossili Bay (left), Aberdeenshire (top) and the Solway Coast (below).


Autumn paintings of Hampstead Heath and the Falls of Dochart at Killin, along with seascapes of Whitby and St Ives.


Lastly, a European selection of paintings of London, Amsterdam and Venice.


Please do go along to the gallery if you get the chance!  The paintings look quite different when you see the real thing.