Responses: Virginia Woolf (1912) – Vanessa Bell

A few months back, I visited the retrospective of Vanessa Bell’s paintings at Dulwich Picture Gallery.  The exhibition is still ongoing and an essential visit for anyone with a passion for those strange groups of English rebels that seemed to flourish in the arts around the Fin de siècle.  It confirmed for me Bell’s position as one of the most underrated artists from that period, … Continue reading Responses: Virginia Woolf (1912) – Vanessa Bell

Responses: John Dee’s Obsidian Mirror

Late last year, I became obsessed with visiting a certain item in the British Museum.  Deliberately choosing to work in or near Bloomsbury, I would often wander into the building in between working, making my way straight to one of the room’s (on the right of the building) with a confidence and determination that clearly unnerved my various tourist companions.  I would stride into the … Continue reading Responses: John Dee’s Obsidian Mirror

Responses: Derek Jarman’s Landscape Paintings

I’ve written extensively about Derek Jarman’s short super-8 film, Journey To Avebury; one of his earliest experiments in film that channels so much of the genii loci of English landscapes, ubiquitous in the more interesting of English arts.  His walk through the Wiltshire landscape after the intense stint of work on the sets for Ken Russell’s The Devils (1971) seems to have had a larger … Continue reading Responses: Derek Jarman’s Landscape Paintings

Responses: Poems On Landscape and Melancholy

Throughout 2016, I’ve been trying to respond to artwork about landscape in more ways than simply essays.  I found that in trying convey work that I liked, there was only so far I could go with conventional journalistic and essay writing.  At the tail-end of each response article, I’ve been sneaking in a poem about the work and its themes so thought it would be … Continue reading Responses: Poems On Landscape and Melancholy

Responses: Tessa Farmer’s La Chasse (2016)

I first encountered the work of Tessa Farmer during a rainy daydream in Saatchi Gallery a few years back.  It was a strange experience as, staring at her Swarm (2004) piece, it took a while to pinpoint exactly what was unnerving about the work.  The discovery of a micro-agency controlling the taxidermic happenings in the form of Arthur Machen-like faeries is key to the enjoyment … Continue reading Responses: Tessa Farmer’s La Chasse (2016)

Responses: Keith Arnatt’s A.O.N.B (1982-1984).

The photography series, Areas Of Outstanding Natural Beauty (1982-1984), was the first work I came across by Keith Arnatt.  This was some time before he would eventually be back in vogue thanks to Tate Britain’s well received conceptual exhibition, of which his most famous work, Self Burial (1969), was the publicity image for.  Very much like the landscapes that so much of Arnatt’s work captures, … Continue reading Responses: Keith Arnatt’s A.O.N.B (1982-1984).

Responses: Alison and Peter Smithson’s Architecture (London).

Alison and Peter Smithson are two of the most influential architects of the 20th century.  This is in spite of the fact that only several of their buildings made it past the design stage and that, of those that did in the UK at least, they have often been reviled as the most grim of Brutalist designs.  Yet, apart from their buildings standing out for … Continue reading Responses: Alison and Peter Smithson’s Architecture (London).

Wanders: The Magnet and The Last Resort (New Brighton).

As a last hurrah of being on Merseyside before moving, I decided to revisit a place just down the road from where I’d lived on The Wirral; armed with a desire to dig up some of its surprising past glories.  I’ve been going to the seaside resort of New Brighton for as long as I can remember, often as a place to sit off and … Continue reading Wanders: The Magnet and The Last Resort (New Brighton).

Responses: Richard Long’s A Line Made By Walking (1967).

Rather like the work of sculptor, Andy Goldsworthy, Richard Long’s work almost constantly and immediately asks an intriguing question: which part of the work is the official segment of “art”?  Is it the very act of the process of making and doing which so often constitutes the work or is it the very documentation of such a process?  It needn’t be such a binary state … Continue reading Responses: Richard Long’s A Line Made By Walking (1967).

Responses: Andy Goldsworthy’s Ice Arch (1982).

While Andy Goldsworthy’s work has a general theme of transience running  through its core, it is perhaps best summarised in his use of ice within sculpture.  Though almost everything the artist does has a brief lifespan as a finished object, there are few that seem so precarious as the ice works, specifically his various ice arches. For this article, the ice arch in question is … Continue reading Responses: Andy Goldsworthy’s Ice Arch (1982).