Feeds:
Posts
Comments

Posts Tagged ‘inspiration’

It’s been so long since I last posted to this blog I’ve forgotten how to begin a new post. I know where I want to end up and part of the journey of getting there, but how to start is turning out trickier than it seemed.

Art is a bit like that. For me at least it’s largely instinctive. When students or journalists ask ‘where did the idea come from?’ I usually have some kind of answer to keep them happy. But the real answer is usually a lot more complicated and involved than that.

Ideas – inspiration if you like – is an ongoing process and one that probably started at birth. There are things you remember from various parts of your life that you recall or associate with places, sounds, smells, concepts, emotions. Sometimes they may feel quite random or spurious in their association at the time. But that’s just the way your brain works. To the extent that when someone inevitably asks ‘what’s the piece about?’ the answer is rarely straightforward either. In fact Ive recently decided to put a time scale on answering that. Three years minimum. That’s about as long as it takes to absorb the work and start to understand what it was really about.

Of course, art doesn’t have to be about anything at all. Francis Bacon was famously quoted as saying “The purpose of art is to deepen the mystery”.


Presence‘ – an album by Zed Zeppelin, has cover artwork featuring an obsessive hole. The nostalgic images from the 40s and 50s appear to show everyday people obsessed by an ever present mysterious void.

cover_2551922102016_r

Art directed by one of my heroes – Storm Thorgesson – the premise was to put an object from the future into the past. In true Thorgesson style rather than use archive images from the 40s and 50s, the cover images were shot for real on the basis that ‘nostalgia isn’t what it used to be’. There’s something unsettling about a familiar setting disrupted by something that is clearly not meant to be there. Yet in these images the ‘thing‘ appears not only to be accepted, but hold a real presence in all the situations. The irony being the ‘thing‘ is not even a ‘thing’ but a hole. The ‘presence’ is actually an ‘absence’. When the concept was first pitched to the band, Robert Plant’s response was “Who the hell needs to understand everything anyway?”.

The mysterious black object motif is also drawn in part to the monoliths in Kubrick’s film  version of ‘2001 – A Space Odyssey‘.

800full-20013a-a-space-odyssey-screenshot

In the film we see three large, black monoliths  – the first in prehistoric earth that appears to mark a turning point in evolution, the second one on the moon and the third orbiting Jupiter. The monoliths are a key marker in the plot of the movie – in many respects they are what the film is all about, yet they are also a source of endless discussion and conjecture about what they are. In Arthur C Clarke’s original books, the monoliths – and there are more than just those three – have a presence but no substance, only that their shape is in the proportion of 1:4:9 (the first three squared numbers). In the books it is also suggested they have dimensions beyond the physical three with ever increasing proportions (…16:25:36…). Of course their meaning and purpose could be very simple. They just are. What are they? – something else… where did they come from? – somewhere else… when did they appear?… they’ve always been there.

In short, they’re follies. Objects designed to be mostly there to just be there. I’ve written before about the Chinese tradition of placing man made objects in landscapes to make sense of the scale, form and colour of the vastness of their environment. As a kid I was always a little obsessed by the presence of follies. I remember seeing Horton Tower in Dorset and asking my grandparents  what it was for. “It’s just a tower. It’s not for anything” was their reply. Grandparents never lie. So it must have been true. Weird, maybe. But true.

Through my teens I learnt to appreciate the surreal-ness (is that a word?) of follies. The Belvedere Tower at Claremont Gardens was always tantalisingly behind gates, locked out of reach.

IMG_4730

‘Belvedere Tower’, Claremont Gardens, Surrey. A low-resolution scan from an infrared negative, but you get the gist…

There was always something Alice in Wonderland about its inaccessibility. Those clipped hedges framing the view up the lawn. It must have been a great view from the tower across the gardens and lake, only the windows aren’t real. They’re painted on. Part of Capability Brown’s masterpiece in landscape design. The tower was there for its presence. To look over the landscape, and while it obviously couldn’t actually look over the garden, it reinforced the idea that the landscaped garden was designed to be looked over. That looking was fundamental to what the garden was about.

Another favourite was Leith Hill Tower. A wonderful piece of gothic architecture built in 1765 to enhance the countryside. No more, no less. There’s stairs up to the roof which is (at just over 1000ft above sea-level) the highest point in southern England. However, the steps weren’t built until 100 years after the rest of the building. So for a century it was just a tower for tower’s sake.


This summer I built ‘Keep’ – a 10m high folly for the Lake District. OK, so I didn’t actually build it – Debbie in Manchester did the hard work with the sewing machine. Originally it was going to be a bouncy castle inside, but a number of design issues and some disastrous fabrication decisions put pay to that idea, so it was redesigned as just a folly. It was commissioned by the Lake District National Park as part of their Lakes Alive Festival. The original brief was around the theme of Cultural Landscapes to celebrate the UNESCO World Heritage Site listing for the Lake District. The English Lake District has it’s very own and important history in the world of landscape appreciation. Unlike most of the rest of England, Follies are not part of that tradition. However, I wanted to look at the role the Lakes played in the wider English Landscape Tradition and put a folly in that landscape.

keep latrigg2

Original mock-up of ‘Keep’ on Latrigg, above Keswick, Cumbria.

‘Keep’ was designed to be a very light touch in a protected environment. As an inflatable artwork it was easy to get onto site and install. It could be installed and taken down again the same day which meant in theory it could be taken to quite isolated spots and places where a more permanent folly would never be allowed.

However, as mostly made from air, it is very susceptible to weather conditions.  On the location I’d originally intended it to go – being around 2000ft above sea level and very exposed, the weather was prone to sudden changes. On the best day of the pre festival week, the conditions looked like they would be right to get the tower up for a few hours. However, during inflation the wind suddenly picked up to more than twice the safe maximum and the install had to be quickly abandoned.

Attempt to install Keep on Latrigg, September 2017. Photo © Helen Tuck

Attempt to install Keep on Latrigg, September 2017. Photo © Helen Tuck

The following weekend was the festival itself. Confined to Kendal, the piece was installed on Castle Howe – the site of the original castle in Kendal, but with a line of sight to the latter and existing castle ruin on the other side of the town. For a day the weather played ball and the piece did its job as being a tower.

Keep 004

For the Kendal installation, I chose Castle Howe partly so that there would be some kind of dialogue between ‘Keep’ in red and the existing castle in white – rather like rooks on a chessboard – maybe another Alice through the Looking-glass reference. It was also partly about the vibrance of the colour with the ‘Auld Grey Town’, as evidenced in Tony’s drone shots.

DCIM/100MEDIA/DJI_0293.JPG

Drone view from above Kendal Castle looking back to ‘Keep’ on Castle Howe. Photo © Tony Watson.

The install on a fell in the Lake District will happen at some point. I’ll keep a look out for the right conditions, both in terms of windspeed and in the colour and light quality of the surrounding landscape. When it’s right it’ll be stunning and ‘enhance the landscape’, whatever that means.

Two months on and I’m starting to understand what the piece is about. Having seen the piece working in Kendal, I’m getting a better idea what the piece is and how it works. It’s also something I’m keen to continue in the future. That may be taking ‘Keep’ out on the road for a series of installs, or it may be more involved than that. Who knows, maybe a whole series of follies in different landscapes.

More importantly, I’m happy not really understanding what the project means yet. All good art has at least ten different meanings. I’m quite sure using temporary follies to interrogate the landscape has at least that, but it may take me a while to discover what they all are.

There’s something about follies that seems to fit with the work I’ve been doing for the past few years.  I still don’t know what that something is, except it’s probably something else. But I do know it’s always been there.

 

 

 

Advertisements

Read Full Post »

“What do artists do?”

I looked over the sea of hands suddenly shot up from the hundred or so gathered five and six year-olds. Feeling all teachery standing up there at the front of the assembly hall, the choice was mine to make – pick one. Any one. I was pretty sure they all had the same answer. I don’t remember which and I picked in the end, but the response was like a punchline

“They paint things”

It’s not just small people even. I doubt I’m alone among artists either – that response when people ask what you do, you say ‘Artist’, they say “what do you paint?”.

My standard response is “skirting boards. Occasionally”.

There’s a general assumption that art is something you put on your wall. At best it’s something other people put on gallery walls. And don’t get me started on “art in unusual places”… what’s THAT supposed to mean?…

The flip side of this of course is that I obviously have walls at home and I like art. So what do artists have on their walls? I clearly don’t do wall stuff, and even if I did I doubt I’d have any of my own work at home. It’d be like an accountant having spreadsheets on the wall, or plumbers having their best soldered joints in frames.

I remember going to one artists house and seeing a small Dali on the wall – apparently a swap with Dali himself. I’d love to have one like that. Even just a Dali would be nice…

The other week, quite by chance, I got a signed print by one of my heroes – Storm Thorgerson. Actually I’ve not really thought of him as a hero until recently. I guess he’s probably most known for his iconic album covers for Pink Floyd – that prism for ‘Dark Side of the Moon’, and the flying pig over Battersea Power Station for ‘Animals’.

animals cover

‘Animals’ Pink Floyd – design by Storm Thorgerson / Hypgnosis

Back in my youth album cover design was a big thing. Factory Records had Peter Saville,

blue monday cover.

‘Blue Monday’ by New Order. Design by Peter Saville. Die-cut sleeve to look like a floppy disk (big old one)

'Technique' - New Order. Design by Peter Saville & Trevor Key. 1989

‘Technique’ – New Order. Design by Peter Saville & Trevor Key. 1989

4AD had (and still have) Vaughan Oliver

'The Moon and the Melodies' - Harold Budd, Elizabeth Frazer, Robin Guthrie & Simon Raymonde. Design by  Vaughan Oliver. Photograhy by Nigel Grierson. 1986

‘The Moon and the Melodies’ – Harold Budd, Elizabeth Frazer, Robin Guthrie & Simon Raymonde. Design by Vaughan Oliver. Photograhy by Nigel Grierson. 1986

'Filligree & Shadow' - This Mortal Coil. Design by Vaughan Oliver. Photography by Nigel Grierson. 1986

‘Filligree & Shadow’ – This Mortal Coil. Design by Vaughan Oliver. Photography by Nigel Grierson. 1986

and almost everyone else had Rob O’Connor at Stylorouge.

Juju album cover

‘Juju’ – Siouxsie and the Banshees. Design & Art Direction by Rob O’Connor. Photo artwork by Thomi Wroblewski. 1981

what kind of fool cover

‘What Kind of Fool’ – All About Eve. Design & Art Direction by Rob O’Connor. Photography by David Scheinmann. 1988

At the time I looked to record covers as where the exciting photography was and what I ultimately wanted to do. Peter Saville was pushing record sleeve design as works of art in their own right – most of the Factory records never featured the name of the band, or even album on the front and created a strong visual identity for the artists. Vaughan Oliver and photographer Nigel Grierson as 23envelope in contrast exerted their very individual style on every band that came on the 4AD label – unifying the label visually while transcending the style and nature of the individual bands (and not without a bit of a marmite split of support from the bands themselves). While many labels still chose to put pictures of the bands and singers on the records, these studios were turning product into a work of art.

The Factory / 4AD aesthetic (and particularly Grierson’s photography) was certainly in evidence in my early forays into record sleeves:

found

‘Found’ – EP. Waterglass. 1995

That strong visual element within certain streams of music I think shaped my musical tastes. I’m still guilty of judging a book by its cover. There are so many great bits of music and books I’d never have discovered if it weren’t for some brilliant photography on the cover.

But long before all that was Storm Thorgerson – the father of album cover art. Beyond every Pink Floyd album, his first studio – Hipgnosis – then subsequently Storm Studios – created some of most striking and downright surreal images of the 60’s, 70’s and 80’s:

houses of the holy cover

‘Houses of the Holy’ – Led Zeppelin. 1973

deceptive bends cover

‘Deceptive Bends’ – 10cc. 1977

momentary lapse of reason cover

‘A Momentary Lapse of Reason’ – Pink Floyd. 1987

wish you were here cover

‘Wish You Were Here’ – Pink Floyd. 1975

All classics in their own right, so I suppose were part of the cannon of music design and consequently part of the collective consciousness of artists working in that arena. Still, by the late 80’s, early nineties they all seemed a bit.. well, prog-rock and so dropped out of what I considered to be cool and relevant.

Yet, somehow bits must have stayed put in my psyche and could occasionally be seen subconsciously in bits and pieces, like this shoot for a theatre company where a man wakes up in a subway station at rush-hour:

sleepyhead

promo shoot for Vanishing Point theatre company in Glasgow. I’m guessing it’s about 1995. Looks like Kelvingrove subway station. Really was rush hour and had to wait for two trains to come in at the same time.

In the intervening years I’ve sought to find my own voice and visual path, and finally split from my music industry trajectory when I moved to Cumbria. Being out in the sticks has immersed my work with a whole new world of inspiration  and learning together with a whole different culture. The music industry has changed loads too – the downsizing of scale from 12″ vinyl to 6″ CD covers took away some of the visual emphasis. Since then iTunes and digital downloads have removed music from its packaging entirely. Around the same time MTV moved away from non-stop music videos and that great music design industry has largely slipped away.

 

Storm Thorgerson died in April last year. As with any passing of a great cultural figure there’s a period of reflection on that person’s achievements and a rediscovery of their forgotten genius. Storm Thorgerson, like Vaughan Oliver and Peter Saville, comes from an era before digital manipulation. Oliver’s textural creations were created through a deep understanding of the reprographic processes and print technology to build up layers upon layers of image, graphics and text. Thorgerson on the other hand took a much more direct approach – to create the images for real and photograph them. Thorgerson’s images become more than just fantasies – they really happened. A product of immense prop building and researching the best landscape in the world to make it happen.

What I found most fascinating was now I saw another artist creating vastly ambitious temporary installations in vast open landscapes.

audioslave

‘Audioslave’. 2002

Coming at them from completely different places, the themes are so familiar

watercolour cover

‘Watercolour’ – Pendulum. Design by Storm Studios. 2010

red boxes

compare to ‘red boxes’ – installation on Ullswater for James Cropper Speciality Papers. ©stevemessam2009

smell the coffee

‘Wake Up and Smell the Coffee’ – The Cranberries. ©Stormstudios 2001

'Fairhaven Bubbles'. Probably my most Thorgersonesque piece to date. ©stevemessam 2012

‘Fairhaven Bubbles’. Probably my most Thorgersonesque piece to date. ©stevemessam 2012

As a commercial artist there’s a lot of output. Thorgerson seemed to publish books of his designs every few years. Sure the quality varies, and if I’m going to be particularly critical, I think a lot of the styling in the more recent work feels very dated and less contemporary – less aware of its time and place.

But then there are still gems.

The cover of ‘Only Revolutions’ by Biffy Clyro is Thorgerson at his best.

only revolutions

‘Only Revolutions’ – Biffy Clyro. Design by Storm Studios 2009

The theme of Revolution has a narrative of struggle and conflict – the figures face each other in a blindfolded dual. Each concealing heir weapon behind their back – a rolling pin and a knife. The resolutions having broken down, the peace table in flames. The huge flags rise in the air catching the wind, their colours reminding us of the French Revolution and Delacroix’s Marianne in ‘La Liberté’

'La Liberté' by Delacroix

‘La Liberté’ by Delacroix

This is where great album cover art works for me. Here is an image that’s more than a pretty design. It has depth and narrative like a Rennaissance painting. As a photograph it has authenticity, yet it has a real mystery and fiction too.

I’m glad I rediscovered Storm Thorgerson’s work. It’s a shame I came back too it too late and never got to meet him.

There are those influential people you look up to and aspire to become, and there are those that speak to you in a way that deeply affects how you think and work, or you connect with in such a way you follow their every output. Then there are those who you may or may not know about who just happen to think the same way or do things the same way – those are the people you share a path with.And then sometimes when you’re walking along your path and by chance you find someone who’s already managed to get to where you were heading. Those are your heroes.

…..

I’ve not gotten round to putting my print up yet. It’s all framed and standing on the kitchen table. But that’s the kind of thing I put on my wall.

print 006

 

Read Full Post »