FOREWORD
Oscar Wilde asserted Art needed no justification and had no purpose - that "all art is useless". In Art Schools, formalism often prowls: students believe that Art is, without question, the antithesis of the genius Irish writer's model above. Furthermore, some artists, as they mature, passionately and earnestly believe that their OEUVRE is of some, or even really major, Art historical significance - utilitarian with intrinsic value. Sales may bolster this belief.
If we accept Artists are discovered, budding artisans, regardless of age, might expect their luck to change at any point: exposure happens sooner or later for the chosen ones. If they make it to Art School, it's actually quite enough for some! They may get to parade their conkers to the world, useful or otherwise, as and when they "make it" going forward; specialism dependent of course. Meritocracy stops, invariably, at graduation, perhaps, for the majority of prospective new world artists and designers.
Anyway, this Weblog, AKA an Artlog online, nowadays, is a clear insight into the mature mind of a resilient product of an Art College of high repute - A* Student, turned Artist/Educator BLOGSY. His diary entries fill a minimalist Art magazine (quick read) prototype. A moderately successful BA (Hons), in Fine Art, Graduate deeply ruminates in mid life and early retirement. His stream of creative consciousness, in the form of Travaux Recents (translated Recent Works), is shared, on Google Blogger, to amuse and inspire artists, aesthetes, Students (Key Stage Two & above UK/ Year 7 minimum Australia/ 6th Grade & above USA) and valued Teachers (of children or adults). It begs questions such as: " Where do we (truly) go from the best Art Colleges?"; Was Wilde's, aforementioned, "USELESS" assertion blindingly accurate? Is it enough to create MASTERPIECES? Start your nosey voyeuristic journey, dear reader, in earnest (!) Here is what UK 1990s academia deemed to be a Good Degree in Fine Art (with a dissertation on James Joyce) : completely immune to demerit. You might need a pen and paper, or your digital notebook, for this - plus a steady supply of energy drinks, coffee or herbal tea:
Neil Anthony Hodder (back soon)
RECENT WORK ISSUES One - Six
RW SKETCHBOOK 1) "He paints figures in the manner of Gwen John" Emma Dexter 1990 "That's nice" Julian Bond HSDC Lecturer & Fine Artist (The best!)
Reading a biography on the painter Gwen John partially
inspired this comment I am about to write about my art work. Gwen’s own notes
helped to elucidate and explain her artistic activity greatly, according to her
biographer.
This comment is written, primarily, for inclusion in a
photographic archive as an explanatory page. It is also an original textual
exhibit ←
One of my lecturers, at the HSD
I was impressed at the time (1985).
It is now my belief, in 2009, that too many people
make and store too much of their own work, almost mindlessly. It is
their business, of course, and not mine.
I have been, so far, an enterprising artist. Most of
my works have been generated purposefully and lucratively. I do not retain
originals I have created as a general rule. When the work is done, that is it.
I could not part with certain pieces, however, too easily.
What is a work of Art? My definition of a work
has evolved to become what it is today (
My current view of exhibitions is obscured by
scepticism. I see too many shows which seem visitor-less and art shops which
serve coloured photocopies of CD sleeves (I may have one). One of the central
questions for me as an artisan has been ‘ what do I do with an original this
exquisite? ’. The option of exhibiting in a traditional manner and risking any
type of cultural vandalism is less attractive to me now than it has ever been.
With time, the quality of my work has escalated. I have started, consequently,
to invent and utilise alternatives to traditional exhibitions. 1 letter on
target is more successful than 1000 000 mail shot misses.
Please, excuse me, I have never written about my Art work before ← Blogsy
RW SKETCHBOOK 2) "Thank you for the King's Church illustrations" Ray Salisbury (Author) “Those who can, do; those who can't, teach.” G B Shaw 1905
↔ So, my work started in a sense in 1990.
I have, it occurred to me today (
Before 1990, my originals were distributed to
interested individuals, including my excellent Art History lecturer (R
McClellan). A few sold, not too many. I am the keeper of my work since
1990, with the exception of a few directly commissioned efforts and some works
which I have felt it necessary to dispose of (they should not have been done).
I have given away the odd sketch. R Williams, for example, the artist and
designer owns an original, owing to her involvement with one of my art education
initiatives. Essentially I know where my work is and how it is being treated.
The price to pay for withholding works is substantial
you might imagine. This textual work has not cost me a single penny to produce.
For a major project in 2008 I used a found Staedtler pigment liner (an
environmentally friendly and financially prudent move). The centre piece of my
last major show was utilised in education and, essentially, paid for itself and
exhibition costs. My lecturing financed my representation as an Art educator in
a show in the year 2000. I have been employed continuously as an art education
specialist for 18 years. Freezing distribution and retaining my originals has
by no means left me out of pocket: I have taught. My originals are not permanently
on display, however, in my own storage spaces.
Recent work includes autobiographical texts and original duplicates of earlier illustration commissions. When I look at some early drawings they could have been worked on yesterday. What more can I say about recent work today? Blogsy
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| Blogsy appropriates a found pigment liner 08 |
RW SKETCHBOOK 3) "People just don't TEACH (!)" Jack Smith (BFA Lecturer) "If you can teach here, YOU CAN TEACH ANYWHERE" W Smith (Headteacher)
T The Slade. Gwen John. Balthus. The world of Art education. R 3
To freeze distribution of art work is not necessarily
an action which blocks artistic development. My works are readily available for
reference and do not become neglected or ignored in new ownership. I am
staggered by the number of works in art history which have been, essentially,
ignored until quite late in the life time of their creators (despite being exhibited
extensively). Even the works of artists who have grown up as children of recognised
artists, within distinguished artists circles, have been cruelly overlooked if
not ignored (e.g. B a l t h u s). Gwen John, who inspired the last 3 issues of
“Recent work”, did not obtain recognition as the clever artist that she is, to
my surprise, until fairly late in her life (and she had an affair with
Rodin). The quality of her work, from my point of view as a painter, reflects
her belated fame. Perhaps she did not become complacent through over exposure.
I do not know: I have not read chronologically indexed biographical views on
the objective quality of her original efforts.
It is perhaps easy to overlook treasured historical
views on the functional life of works created by our early ancestors, at
So much art exists now and so many individuals want a
place in Art history. My favourite living painter, Balthus, believes that
artists as a general community are at great fault. He distinguishes himself
from this community by calling himself an artisan. He values craftsmanship very
highly, rather like myself, and condemns the tendency of many artists to demean
it.
It might be too easy, though, to misunderstand the,
perhaps, well meaning efforts of contemporary artists to move things on and
innovate. Modern art magazines can provide some enlightening and interesting
commentaries on the work of living creative people. They contain the views of
some astonishingly intelligent critics. A current statement, I came across
recently, that "art cannot be taught", is a thought provoking example of art magazine
content. It was the view, however, of a part time lecturer in one of the most
prestigious art schools in
Artists do need encouragement to keep going and learn
to be resilient to a lethal public eye. It is a real struggle, now, in 09, to make a
proper impact with an original work of art. I see too many works in minor shows
which are beautifully crafted but few people seem to be interested in owning
these pieces. Staying inspired must be an ongoing battle for creative
individuals, or so it would seem. People keep making things, however,
and use their own money to do so. Some of these people are fine artists. Many
aspire to be or pretend to know what they are doing. Some manage to surround
their work with art kite marks regardless of their experience or actual
ability.
Fortunately for me, Blogsy, as an artist, I have not been
consciously seeking exposure via exhibitions in a strategic sense: towards
artistic fame. This is because my works are almost entirely functional designs
made to self generated or given design briefs. Since I entered professional
life in 1991 I have produced an enormous amount of creative design work. Additionally,
outside of educational employment, I have created works which are essentially
usable (they carry the stamp of formalism). Unlike other artists I do not make it, show it, and hope that somebody
likes the "mud pie" enough to open their wallet. I am only prepared to speculatively finance works
myself up to a certain point. I may change but risks do not appeal. Blogsy
RW SKETCHBOOK 4) "YOU ARE AN ARTIST !" (Blogsy patron 2022) "YOU HAVE SO MUCH SKILL IN THOSE HANDS!" Papa Blogsy "MONEY" BK Frames Ltd
Recent Work > Issue 4
Views on art, design and much more Blogsy 2009
A non event?
A
personal perspective on an exhibition of original art works in the Reference
Section of Hayling
Keeping
a collection of work completely out of view for 12 months may be one way of
acquiring a more objective or less biased view of it as its creator. My first
show for 12 years was a mix of absolute extremes: one drawing laboriously brought
into the world during a decade and utilised for a period in a Berkshire
Secondary Modern School which looked, vaguely, like a homage to the new
Humanism which emerged in the 60s and 70s; another a rapid holiday sketch done
plain air on a Cornish beach; a triptych created from sketchbook pages; a
Polytechnic prize winning portrait reappearing in a slightly spoilt looking
colouring book page; manuscript ink drawings which resembled very early cave
paintings. Works which many self respecting artists would, perhaps, shy away from
exhibiting were framed and publicly displayed. Inevitably, the show reflected
my activity in education (I had taught art for 9 years) and it was probably my
most experimental offering. I earnestly believed, at the time, that it was an interesting
show.
The
exhibition was, however, in no way publicised: that is, no artificial attention
was drawn towards the display of work. Titling was absolutely minimal. The show
was…
Unfortunately it is impossible to make remotely objective written comments on the stuff: even after 12 months without viewing it (7 years afterwards). It was an enriching event for me and, despite its content, not a single negative view of it was brought to my attention.
BUT, exhibiting, regrettably, involves more than simply
repositioning the art works into pubic view in a respectable display space. I
will always believe I exhibited: always.
The central exhibit in the show had already been much admired and contributed to in an educational context (COMMISSIONED Formalism) but that alters nothing. The only consolation for me is that now I really would hesitate to exhibit it anywhere - masterpieces are not enough evidently (!).
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8 details of Blogsy's unsold masterpieces RW SKETCHBOOK 5) "Sunday Boot fayre price tags!" Blogsy "Fast Selling Out!" " "This is for all your hard work in the gallery" Rob ConwayTRAVAUX RECENTS, ISSUE
5, October 2024: Summer 2023 “We’re looking for people to come in on the rent” chirped the
male shop manager as I started chatting, stopped, passing by on my Mountain
terrain bike. The shop was almost luminous yellow. “ART” was the place I’d stumbled
across. “Might be interested” I surmised. A few days later, I’d had a painting valued, at just under a monkey, and I was flying: I’d been apportioned
a large expanse of wall space by a charming German proprietor and she was busy
curating my work and her studio output simultaneously. A photo shoot ensued,
later in the day. I hold my mobile phone with coffee stained hands and survey
the reel of expertly composed shots the German had accumulated: gallery
exposure in an affluent central suburb. A few weeks later, I’m front of house, serving customers, as
I invigilate my own show and represent other artists in the shop gang. I open
up, I sweep the wood floors, I make teas and coffees, I’m in charge – a bona
fide 21st Century Art dealer. Soon, a charming Asian couple out hunting for wall art walk
into “Art” and begin to browse. Eventually, I commence some sales patois
focussed on my sub-exhibition entitled “Potboilers”. She likes a triptych and
another single sketch. She asks how much I’d like for the pastel (sold once
already but retained): its SOLD and later I’m divvying out the shop commission
for the cash box before I lock up and disappear. A few further weeks on, I’m flogging two more of my own originals,
along with a much-admired bird sculpture by another elite artist – over a
stripe in total for the gallery cashbox. We’re running someone’s Porsche… Wake up BLOGSY – RISE AND SHINE (!) Blogsy
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Issue
6
de Travaux Récents
BLOGSY 30/07/2009
>Il y a art et, aussi, art : Une peinture de watercolour est dépendante sur rien pour
son existence tandis qu'un CD dépend de l'électricité. L'énoncé de l'évident n'est pas très illuminating. Il aide de
temps en temps cependant à appliquer le raisonnement simple pour progresser.
Avec de longues études de la musique et de la
peinture derrière moi (des chapitres non fermés de ma vie par quels des moyens)
et expérience substantielle I de conception posséder un plus grand pallete pour
travailler de que moi ai eu à l'âge de 22 en tant que nouveau diplômé. Je
pourrais posséder une maison remplie de peintures dans un milieu spécifique (peinture
à l'huile par exemple) mais je n'ai pas travaillé prolifique dans un milieu.
J'ai contrôlé mon rendement artistique avec soin extrême : il a fonctionné par
un limiteur du plus de haute qualité. Tant d'idées devraient être arrêtées
avant actioning les ou être filtrées ou quoi que .....
Ma maison rangée vide est le produit de ma
prise de décision soigneuse en tant qu'artiste. J'ai choisi une brosse
extrêmement grande : l'espace vivant disponible de conservation a pu avoir
influencé ma prise de décision créatrice.
Les choix d'adolescent faits avec trop de
rapidité pour se spécialiser dans une milieu ou discipline, même pratique
alternative, peuvent être très restrictifs si adhéré à pendant la vie. Sans
soin il pourrait être possible de manquer l'occasion de créer un morceau de
musique dans un studio et de faire admirer une peinture par monsieur
Richard Attenborough et de soumettre un scénario pour creuser des
rigoles 4 TV et pour enseigner la conception intérieure pour un jour.
Pour coller à une forme d'expression peut être comme la vie sur seul le pain
que j'imagine. 21ème Les artistes de siècle sont chanceux dans le sens que
pratiquement quelque chose va. Il est encore difficile de battre faire une
image. Il n'exige aucune autre attention et il peut oublier environ.
Afin de travailler créativement de la façon normale par opposition à imposer une sorte d'ordre conçu lors du travail l'a produit est nécessaire pour rester large d'esprit et réceptif à celui qui vous rencontre véritablement comme milieu utile. Selon l'histoire ce n'a pas toujours été le cas pour des artistes : c'est notre jour chanceux.
One sentence Blog Language summary:
DO NOT BE BALLED AND CHAINED TO ONE MEDIUM IN ART WHEN WE HAVE SO MUCH CHOICE DEAR CREATIVES (!)
'GOOGLE TRANSLATE' VERSION OF RECENT WORK SIX:
>There is art and then there is art: A watercolour painting is dependent on nothing for its existence while a CD is dependent on electricity. Stating the obvious is not very illuminating. It does help occasionally though to apply simple reasoning to progress. With long studies of music and painting behind me (unclosed chapters of my life by what means) and substantial design experience I have a larger palette to work with than I did at the age of 22 as a new graduate. I could have a house full of paintings in a specific medium (oil painting for example) but I did not work prolifically in one medium. I controlled my artistic output with extreme care: it operated through a limiter of the highest quality. So many ideas had to be stopped before actioning them or filtered or whatever ..... My empty tidy house is the product of my careful decision making as an artist. I chose an extremely large brush: the living space available for conservation may have influenced my creative decision-making. Adolescent choices made too quickly to specialize in one medium or discipline, even an alternative practice, can be very limiting if adhered to during life. Without care it might be possible to miss the opportunity to create a piece of music in a studio and to have a painting admired by Sir Richard Attenborough and to submit a script to dig channels 4 TV and to teach interior design for a day. To stick to one form of expression can be like life on bread alone I imagine. 21st century artists are lucky in the sense that virtually anything goes. It is still hard to beat making a picture. It requires no further attention and it can be forgotten about. In order to work creatively in the normal way as opposed to imposing some sort of conceived order on the work produced it is necessary to remain open-minded and receptive to that which truly meets you as a useful medium. According to history it has not always been the case for artists: this is our lucky day.
EPILOGUE
Blogsy sincerely hopes this Artist's log 'offcut' has served it's purpose: to create an altruistic literary gestural of a "good Fine Art Graduate" with the course goal posts the size of an ant in her rear view mirror. Ironically, Travaux Recents was originally conceived as potential physical or online magazine content: designed to entertain in real time updates - as the name of the tome implies. Anyway, it will remain the dream of the artisan and perhaps inspire others to realise the fantasy. In the light of GDPR, by way of a disclaimer, it may be prudent to shred journals unless you truly believe that they are of actual use: ART.
Blogsy (AKA Neil Anthony Hodder)
18 October 2024 AD
