The Water Replies – completed journal

Today I finally handed in my journal for the Water Replies project, to Metal Southend. This has turned into a project that has been so defined by the events of this year.

As detailed in a previous blog post Journaling fun – back to our roots, SEVEN were eager to participate in this project when it launched back in March. There was a series of workshops in journaling and poetry writing planned, and it all sounded very exciting with new creative possibilities and explorations.

And then the world as we know it stopped.

Walking by the estuary

The spring lockdown meant that we could only exercise outdoors for an hour each day, with no stopping permitted to sit and look at the view. And also how can you be creative in a pandemic? Some of the workshops went on-line, but I seemed to be unlucky that the ones I signed up for got cancelled, and I just got very despondent about it all.

So my journal sat neglected for months. But gradually as the restrictions were slowly relaxed, and with encouragement from the other artists in SEVEN, I relooked at it, and just decided to go for it. Take the pressure off myself to produce a perfectly artistic and thought out journal, but to just use it as a record of the extraordinary summer we were experiencing.

When it was possible to go for longer walks, to escape the crowded seafront and beaches, like many other people, I spent more time exploring Two Tree Island and the seawall walk from Leigh-on-Sea station to Benfleet. Appreciating that the Thames Estuary is not just where the tide appears twice a day on the beach at Chalkwell, but how it creates and influences the marshland and the bio-diversity of nature it supports there.

Walking between Leigh-on-sea and Benfleet

Like lots of people I did (eventually) find it very therapeutic to be creative. So my journal isn’t full of wonderful drawings and poetry but is a snapshot of this summer and how important the Estuary has been to me, and also how sitting and being creative has been a great way to escape from ‘doomscrolling’ the news.

Two-Tree Island

Estuary 2020 will now become Estuary 2021 which will be happening from 22 May to 13 June where all our journals will be displayed (full programme to be announced later in the year)

Check out SEVEN’s instagram posts for some previews of our journals, and also the hashtag #thewaterreplies to see the great variety of journals from other artists.

Altered Books: Is destroying books ever ok?

We mentioned a few posts ago that for Leigh Art Trail 2020 SEVEN will be showing our creative journals at Leigh’s first zero waste grocery store The Refill Room. And, because The Refill Room is all about, well, zero waste, we thought working in reclaimed books, aka altered books, would be a perfect fit. 

The thing is, some people think working in printed books is sacrilege – but is it?

Let’s take a look at the controversial topic of destroying books, for example. Because, let’s face it, this tends to conjure up images of Nazi book burnings and the idea that books are more than just things. As John Milton wrote:

“Who kills a man kills a reasonable creature… but he who destroys a good book, kills reason itself…”

Book Bonfires

In May 1933, at their book-burning peak, over 25,000 books were burned by the Nazis. According to Cambridge University:

“The aim was to remove undesirable professors from their posts, to blacklist “un-German” books and to purify libraries according to National Socialist principles.

Whether performed as a way to control the availability of information or as a means of consolidating governmental power, “the symbolic weight of burning books is heavy” says the Smithsonian in their article A Brief History of Book Burning.

And, this idea continues to be expressed through popular culture, like Ray Bradbury’s dystopian novel Fahrenheit 451, which imagines a future where television reigns supreme and books are illegal:

“‘A book is a loaded gun in the house next door. Burn it. Take the shot from the weapon.’”

So far, so deplorable, but what if the good guys get in on the act?

Destroying to preserve

It’s tempting to blame the destruction of books on the bad guys, but since the 1950s, when the microfilm industry became the fad du jour, libraries themselves got in on book destroying. Big time.

Yep, Nicholson Baker’s book Double Fold tells the tale of a controversial practice called ‘reformatting’, which was embraced by the likes of the Library of Congress in Washington and even – wince – the British Library. While some volumes were sold to dealers, it transpired that many were simply pulped. Eeek!

Of course, the difference between library pulping and Nazi book burning is that the libraries actually preserved the information contained within the books – well, mostly. Apparently microfilm wasn’t as durable as was first thought – technology, eh!?

But, it wasn’t just another evolution in technology that was to blame for the demise of so many books, it was also that old chestnut: a lack of space…

Drowning books

Writing during the first world war a certain Sir John Collings Squire went on a bit of a rant about how the public were sending rubbish books to their lads on the front line:

“…[I]t was publicly stated the other day that some people were sending the oddest things, such as magazines twenty years old, guides to the Lake District, Bradshaws, and back numbers of Whitaker’s Almanack.”

Why were people sending these indigestible tomes all the way to Flanders? Well, Sir John reckoned it was because:

 “[I]t is likely that there are those who jump at the opportunity of getting rid of books they don’t want.”

This, he reasoned, was because people very often held onto books simply because they were, well, books:

“In reality it is not merely absurd to keep rubbish merely because it is printed: it is positively a public duty to destroy it. Destruction not merely makes more room for new books and saves one’s heirs the trouble of sorting out the rubbish or storing it: it may also prevent posterity from making a fool of itself.”

Maybe Sir John was the Marie Kondo of his era? Of course, KonMari has been blamed for a whole lot of book slinging in recent years – she recommends keeping around 30 max. But numbers aside her point, is this:

“Books are the reflection of our thoughts and values…”

But reasoning doesn’t stop Sir John feeling guilty for essentially ‘drowning’ his big bag of bad poetry in the Thames. Yes, the little blighters might’ve been taking over his tiny flat, but now he’s some kind of book murderer:

“Odes to Diana, Sonnets to Ethel, Dramas on the Love of Lancelot, Stanzas on a First Glimpse of Venice, you lie there in a living death, and your fate is perhaps worse than you deserved. I was harsh with you. I am sorry I did it. But even if I had kept you, I will certainly say this: I should not have sent you to the soldiers.”

Don’t judge a book…

So, it turns out both book lovers and book haters destroy books. The reasons are as varied as making space to live to controlling the lives of others. But at the end of day like people, it’s really what’s inside that counts, as Ray Bradbury writes in Fahrenheit 451:

“It is not books you need, it’s some of the things that are in books.”

Looking Back at 2019’s Art Books – putting our stamp on it

Some blogs ago we talked about the importance of getting inspired by your art heroes, that’s all well and good, but copying alone isn’t going to get you far. The key to creativity is to put your spin on it.

So, when it came to our 2019 art books, just how had each SEVEN member put their individual stamp on their chosen artist or art movement?

Kim – Robert Rauschenberg

“My own practice – mixed media and collage – were a good fit. I threw everything at it really, including the printing we had previously done as a group, and the use of fabrics.”

Yep, SEVEN regularly get together to experiment with new creative techniques, one of which was gelli printing. Jo shared this technique with us early in the art book process, and the results were pretty interesting – although some of us wound up with mouldy gelli plates…

Jo – Hundertwasser

“Hundertwasser was primarily a painter, architect and ecologist, my practice is collage art, design and print.”

Jo continues:

“I reinterpreted a selection of his paintings in my collage style using found ephemera and tissue paper to emulate the translucent quality in his paintings.”

She also:

“[M]ade a lino cut of his spiral” and used it to “make prints on tissue paper”.

While a stream of consciousness doodle proved the ideal way in which to incorporate Hundertwasser’s spirals and organic shapes.

Then, taking inspiration from both Hundertwasser’s ecological interests and current Earth Day Network projects, Jo used her collage technique to:

“[Focus] on environmental issues using found ‘letters to the earth’ published by Extinction Rebellion…”.

Amanda – Matisse

“I am not sure my own style has shone through this book, I have borrowed heavily from Matisse, but perhaps the one area that is me is that the pages were created through chance experimentation with water based paint and ink, something I use a lot in my paintings.”

Amanda goes on to say:

“I felt that an additional ideas guide would be useful for the viewers as research into the themes brought my interests into play: history, mythology and the natural world. So another more conventional book [Amanda’s book was based on the Turkish map fold] was made for this purpose.”

Helen – Surrealism

“I had a few symbols and interests I wanted to explore. These include: Clarissa Pinkola Estes’s ideas around hands, red shoes and the handmade life; mythology and tales of metamorphosis; alchemy; Jung; dreams and nightmares; etc.”

She goes on to say:

“And I chose to do all this largely through collage. I’ve always been drawn to collage, and as it turned out, so were many of the Surrealists.”

Juliet – Art of the Pacific

Oceanic art is often filled with organic forms and intricate patterns, so Juliet brought her embroider’s eye to her art book:

“I wanted to do more stitching onto this theme, and also experiment more with gelli printing to create a variety of backgrounds.”

Summary

So, that’s how each SEVEN member put their personal spin on our 2019 art theme: A favourite artist or art movement. Finding your own artistic style is a process, a journey – an adventure! One that involves taking inspiration from the world around you, then playing with those ideas again and again in different ways. Enjoy it!

SEVEN’s Amanda Jackson – a painter inspired by nature

So, Leigh Art Trail 2019 came and went in a blink of an eye. And, while most of SEVEN just about manage showing our creative projects at one venue, some of us exhibited at two – yes Amanda Jackson, we’re talking about you.

Amanda’s #LAT2019

While most of SEVEN lead various creative lives Amanda also happens to be a talented painter who has shown her work at a number of Leigh Art Trails. This year she shared a space at the Birdwood Bakery with printmaker Shelley Jupitus, where she showcased a series of oil paintings which Amanda described thus:

“Painting the littoral zone; a celebration of the nature of the places where water meets land.”

Essex Is An Inspiration

As Amanda explains the natural Essex environs are key to her creative practice:

“I have lived beside the Thames Estuary in Leigh-on-sea and Westcliff-on-sea most of my life and my work explores my sense of this place and the surrounding landscape of Essex coast and countryside.  My painting practice is sustained by a deep sense of the familiar and entrenched memories of the landscape, walking and drawing and returning to the studio to paint”

The Artistic Process

As you know SEVEN is always keen to peak behind the scenes of the artistic process, so how does Amanda take her painting from inspiration to finished artwork?

“[L]earning more, making contacts, expanding my horizons – literally East to West – and whilst there, soaking up the landscape that I love.”

  • How has this experience impacted her practice then?

“My studio practice has changed – which is a good thing. I am learning what parts of my old practice can stay and what needs to step up a gear.” 

She continues:

“I also made the move out of my home into studio space which allows me freedom to work on several paintings at a time enabling one painting to influence another.”

Amanda’s studio space
  • So how does Amanda go about a specific painting?

“I am working more intuitively,” Amanda tells us. “With a starting point but no idea of what the outcome might be, a particular painting had been troubling me for some weeks and I thought I would share the process with you.”

We’re all ears! Well…

It begins with a rejected canvas that I had painted in the spring for an exhibition, but rejected it. I have become a champion of reusing canvases and rather than paint over in white, I just start painting.”

  • Does she work straight onto the canvas or does she have a sketchbook?

“Working from a photo of some rocks and associated drawings and colour studies, the initial process took place over a period of two months.” 

  • Did she hit any rocky* patches? (*pun intended!)

“The final version has been turned through 90 degrees,” Amanda says.

“I needed to stop, there was something problematic about it, it is not unusual for me to like small areas of the painting more than others and at this point I knew that much of the existing painting needed to go.”

Sounds a bit dramatic! What happened next?

“The painting remained on the studio wall for a while, we had Open Studios and it was interesting to hear visitors’ thoughts about it, but it still niggled me. The painting journeyed to Newlyn and discussions with Marie Clare (one of the tutors) gave me more food for thought: Was I just trying to give too much information in one painting, should it be more pared back?”

The unresolved painting

So Amanda went back to some of her colour studies:

“I laid out all the photos and drawings from the beach at Newlyn, which is where the initial ideas sprung from. I was drawn to the pile of boulders. Other paintings in the series are hanging on my wall, drawings are laying out on the table and all of this feeds into the painting.”

Photos and drawings from the beach at Newlyn
  • What about the colours?

“The choice of colours that evolve from this point on were drawn from those already used and the colours in the landscape but I cannot explain how this comes about as it is an intuitive process.”

  • When does she decide it’s finally finished?

“The final version or should I say, this version to date will stay on the wall for a while, my pondering time… I am happier with it than I was.”

The final painting (to date…)

Find Out More

Follow Amanda on Instagram at @amandajacksonart to keep up to date with her latest artworks, exhibitions and inspirations. And of course, she also shares her creative sketchbook projects as part of SEVEN over at @sevenartistsuk.

Deadline Looming? A Tip For Creatives Stuck in a Rut

Repetition, repetition…

Every journey has its Bog of Eternal Stench moment. Remember the film Labyrinth? Yes, the one with David Bowie and the tights. Well, if Sarah had given up on saving her baby brother when she got stuck at the Bog of Eternal Stench, he would’ve been lost to the Goblin King and Sarah would never have realised GK’s magic had no power over her.

The point is, we all get stuck or lost, or downright cheesed off. And, the creative process is no different. You might start off with good intentions and big ideas, but the middle can be sticky. Stenchy even.

And, with the Leigh Art Trail deadline looming it’s turned out some of SEVEN are making super slow progress with their art books. Some of us might even be a teensy bit stuck. Eeek!

So what help is there for the frustrated creative stuck on their creative project?

A Creative Unblock Project to Try

https://www.thejealouscurator.com/blog/

Well, Danielle Krysa, aka The Jealous Curator, is the brains behind Creative Block: Advice and Projects from 50 Successful Artists. This book features the thoughts and practices of a variety of artists on dealing with inner and out critics, blank page block, and more.

In her post on the book Maria Popova of Brain Pickings shares some of the books most thoughtful snippets, including this “Creative Unblock Project” used by artist and illustrator Lisa Congdon:

“Choose one thing you love to draw or paint (and feel comfortable drawing or painting) already: an animal, object, a person, whatever. For thirty days, draw or paint that thing thirty different ways, a different way every day. You can use different mediums, expressions, positions, colors, whatever. Each day, push yourself to do something much different than the day before, but keep the subject the same. See how keeping one element constant (in this case, the “thing” you love to draw or paint) can allow you to break out creatively in other ways.”

Will SEVEN get unstuck? Will Amanda’s origami birds be strung in her Turkish map fold? Will Juliet get her concertina stitched in time? And, will all our art books make it to LAT 2019? It’s a cliffhanger alright!