On the hill looking down. Traveling, how may I weave this mystery and personal memory into my work? Do I want to is it positive where can I look to find a way?
As I wandered down Denmark Hill, past school that Id heard tell off in tales told before, I looked up and time and space melted away. I was in the leeward islands looking down an old road out over the mountain to the sea.
It happened again this morning. I wonder if memories are held in walls and how these walls are connected?
A gentleman of possibly west Indian heritage walks towards me in the narrow passage, he is not smiling and does not greet me as his counterpart would have in my childhood, he wears a worried face akin to my own children as they departed for exam week at school this morning.
I ponder the joys of our modern world in our modern city of London.
my memories of the past are of course utopian, fantasies memories from 20,30, and 40 years ago. Thought by a child, a teenager and a newlywed, a childless young adult, my gaze was definitely towards the future rather than towards my past.
I notice a clock which could be for now, or them, I notice curious curves everywhere, I have decided to call it the Camberwell curve.
My mind skips back to Roger Deacon and his willow bats and cricket...I'm back in the West Indies, I hear leather on willow, pock, and the cheer goes up, the stands sway, as tins are tapped on tins. I wonder if these memories and curious observations can be incorporated into the work I'm doing now, a kind of nostalgia, magical land of possibilities and Curiouitisy.
The painters whose work I feel I should research are Peter Doig, Sigmond Polkas, Dorethia Tanning, Michael Armitage & Aileen Agar.
Peter Doig reflects on Sigmond Polkes practice -
Tap the book for a read.