I paint with my back to the world

 
Yesterday I moved home and studio. Body and mind need R&R. What could be better than a cup of tea and some wry wise reminders from painter Agnes Martin about what matters? I love what she shares about staying in bed until she knows exactly what she wants to paint. Ahhh.

 

Agnes Martin - Gratitude 2011

Agnes Martin – Gratitude – 2011

 

I don’t have any ideas of my own
and I don’t believe anybody else’s,
so that leaves me a clear mind …
– Agnes Martin

 

 


kami-no-chaya

wonderboxes | nomad collection
Kyoto, Japan

 

Miriam Louisa Simons, wonderbox series - kaminochaya

 

painting on textured card and watercolor paper, assemblage

cardboard box, Arches watercolor paper, shade cloth, threads, twig, watercolor and acrylic paints, canvas board

460 x 460


This piece began as a watercolor study in the upper garden (kami-no-chaya) of the Shugaku-in Rikyu Imperial Villa in Kyoto.

I loved the pond with its border of perfectly rounded stones, and the way their forms were echoed in the carefully clipped azalea bushes.


wonderboxes


all finite things reveal infinitude

 

All finite things reveal infinitude:

the mountain with its singular bright shade

like the blue shine on the freshly frozen snow,

the after-light upon ice-burdened pines;

odor of basswood upon a mountain slope,

a scene beloved of bees; silence of water…

– Theodore Roethke

 

Imagine my surprise to discover that artist, writer and poet Claire Beynon now lives in my hometown – Dunedin, Aotearoa New Zealand – the very city I could not, as a teenager, wait to escape – lured by the attractions of life and culture in North America and Europe. She moved there from Cape Town – living and working nowadays in a gracious old villa overlooking the Otago harbour. What a wonderful addition she is to the cultural fabric of this nowly buzzing city.

Claire’s blog . . . all finite things reveal infinitude . . . is one of my cherished oases of nourishment. I go there for sublime poetry – her own as well as others’, for insightful new thoughts on old topics and artists’ work, for sneak previews of her own works-in-progress, and for an ever-reliable, refreshing, immersion in wonderment.

 

Painting by Claire Beynon
The Stilled Thread of Flight
Oil & steel strings on canvas

Making art is a way for me to connect the physical and spiritual worlds. It is also a means of establishing connections between people and place.

The foundation of it all is not having to know where I am going. I have to trust that there is something out there and in here that will connect. This trust leads my hand to make visible what is invisible. I start out with nothing. The process itself leads me and at some point along the way, I almost always look back and say “ah”.

… when I work, the work takes me to the necessary place of stillness and calm that is essential to my overall wellbeing. Whilst there, trust is like a fountain that energizes me and fills me up. I find I often create visual compositions that counter the outer chaos. Curiously, the more chaos and busyness there is in my outer world, the quieter and more balanced things seem to become in my internal worlds and the steadier and clearer my work becomes. TS Eliot wrote: “At the still point of the turning world is the dance…”  I reflect on these words often.

Excerpts from a conversation with Lawson Bracewell

www.clairebeynon.co.nz
 

Claire Beynon's blog: . . . all finite things reveal infinitude . . .

 


john macormac art

 
Irish artist John Macormac came into my view via interaction with this blog. I was delighted to meet another artisan who shares some of my idiosyncrasies – there’s a magpie here too, gathering bits of information and stuff, never disposing of anything, and always amazed that she has the ‘perfect’ bit of (whatever) for the unfolding of a making. The way he works in layers – scraping and over-painting, cutting up and creating anew – is right up my alley. Hmmmm. Might have to drop in to Belfast some time soon!
 


 
My work deals with an overload of information. I am like a magpie drawn to intricate detail, collecting and manipulating pieces of visual culture. I combine collage, oil paint, acrylics, emulsion, ink, spray paint, conte crayon, chalk, felt tips, pencil and anything else I can find. Found photographs and fragments of text can be included because of a personal sense of meaning, or purely as passages of visual ‘noise.’
 
John Macormac - Shoreline

John Macormac – Shoreline

I wanted this work to echo the feel of a beach in winter.
I employed a muted, faded colour palette.
Scrim was glued to the surface and resembles fishing nets.
The piece is an irregular shape, this also recalls pieces of flotsam and jetsam
worn with time and tides.

My work does not start with a finished image in mind. Rather it carries a sense of practical progression; each new area suggests the context and space for the next aspect of the piece. I often work on several at a time. The work is in a constant state of evolution and reinvention. Layers are added and scraped back. Each finished piece displays evidence of this process of revision, editing and adding new elements until it feels right to stop. Sometimes pieces become overworked. I often recycle them by cutting them up and using parts that ‘work’ to create new images.

– John Macormac
 
John Macormac Art

Click on the screenshot to see more of John’s work.


Edited to include Shoreline – a piece that particularly speaks to me.