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View In My Room
Painting, Acrylic on Canvas
Size: 12 W x 19 H x 1.5 D in
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I take a short detour to look at James Severs house in an early Georgian street that has been kept in its original state, or a gentrified version of it, without press gangs, muggers and chaps with wigs being witty to each other. Back round the alleys on the way back to the high street there are lots of weeds and a general retro feel of dilapidation. Crossing the main road again at Holywell Street I turn left to have a look at the site of the Curtain Theatre built in 1577 by James Burbage. Disused by 1625, it was destroyed in the Great Fire. Pretty unlucky, really, as it’s a long way out. It’s now a small bedraggled yard with a wire fence and a few cars parked and weeds, including a giant buddleia, growing up through the tarmac. At St Leonard’s Church I reach the start of Old Street, where I decide to end the day’s walk – I can feel some twinges from my hernia scars and I feel like taking it easy for now. I have already got far enough North to leave behind the city which – on a weekday at least – always seems to give me a headache. In fact I don’t like it at all (especially with all those new shit comedy skyscrapers) and this walk has made me wonder why I still want to live in London. I never go into the main central areas these days and I understand why. I’m just too much of an introvert. Now in calmer waters, as I stroll back towards the 141 bus route at City Road, I encounter a woman sitting in a doorway, shouting and screaming to herself that the end of the world is coming. I start a light jog, which I change quickly to a brisk limpy walk, as I see a bus moving slowly through the traffic. (Notes from A Slow Path North)
Acrylic on Canvas
One-of-a-kind Artwork
12 W x 19 H x 1.5 D in
Not Framed
Not applicable
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I am what is generally known as a new wave pop folk artist. Usually I work by sitting at a desk with my head in my hands staring at the wall for several weeks, before jumping up and doing a painting in a few minutes. After which I kiss it lovingly - though only when it's dry. My technique is based around putting down various colour layers - with hands, brushes, knives, bits of rag or old gloves - adding new colour quickly and then scratching away wet paint to show the layer below. This is in part an attempt to reveal the perceived mask/veneer of subjects, be they lanscapes, people or memories. It also works on a more sensual level, allowing me to attack my own paintings and crack them open a little bit. Although I'm now older than John Lennon was when he died, and Dino Zoff was when he collected a World Cup winner's medal, I like to think of myself as an emerging artist. I'm just emerging in slow motion.
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