Sunday 27 January 2013

The Joy of Life Drawing

Writing a blog about art and the arts is always satisfying, intriguing, exciting and often surprising and I feel incredibly lucky that I get the opportunity to see many art previews/exhibitions etc. But I often leave thinking "I must get out my own pencils/paints/charcoal and another week slips by and I have done nothing about it.
However, this year I am determined to make time for more sketching and painting and hope to do a couple of art sessions a month. So far so good. Earlier in January I went to the wonderful Lavender Hill Studios in Clapham and spent 3 very happy hours drawing at one of their Wednesday drop in life drawing classes. There is no tutoring as such but being amongst some very good artists with a brilliant life model is incredibly uplifting and it inspired me to do more.

Closer to home I spent yesterday morning down at the local village hall where a student of the above mentioned Lavender studios has set up a monthly drop in session for local artists, again with a life model. The light in the hall was wonderful yesterday, in fact it was the first sunshine for about 10 days and through drawing and observing the light I really noticed it. We had a beautiful model and over a dozen keen artists turned up, despite the still snow packed roads. Some people were clearly experienced artists and some had never tried before but the shared skills and convivial encouragement of the group resulted in a very creative and happy morning for all. 

Monday 21 January 2013

Maurice's Jubilee begins UK tour


Maurice's Jubilee

What a real privilege to attend the press event for Maurice’s Jubilee, the surprise hit of last year’s Edinburgh Fest. Along with a cluster of other ‘press people’ I settle down in the front row of the tiny Pleasance Theatre in North London, and watch three esteemed actors rehearse a scene from this very funny play. My idea of a good afternoon’s work.

Maurice’s Jubilee is written by Nichola McAuliffe (who also stars in the show) and the final tweaks are under way before the UK tour begins next week. 
“What came first?” I ask Nichola, “the part or the play? Does she ever think of a part she’s desperate to play and then write a script round it?”
“Not at all,” she replies, “I never intended to be in ‘Maurice’. I had a wonderful actress lined up but she was offered a role in TV's Mr Selfridge and we said she must go for it. It seemed only fair to the other two actors to have someone they already knew join them, so that was me.”

The ‘other two actors’ are Julian Glover and Sheila Reid, both incredibly experienced and bewitchingly comfortable in their roles. I sit just yards away from them and watch their every move with a beady eye, noticing how still their hands are, how they are interact with one another. Within moments I am in the sitting room in their bungalow in Penge, totally absorbed with their story.
For 60 years retired jeweller Maurice has adored his wife Helena but there is another woman on this mind - Her Majesty the Queen. Having been entrusted with the Crown Jewels 60 years ago, he feels convinced she will visit him on his 90th birthday, which happens to be the day before her diamond jubilee. While his wife fusses around him and says the Queen will never turn up, the new, live-in nurse who has come to help with his ailing health has more faith in his dream coming true. 
Nichola’s wonderful script, which paints everyday life with a sensitive but dry wit, is about a love triangle with a twist. She is respectful of old age, or the third age as she refers to it.
“It’s a love story about hopes and dreams, and disappointment. The third age isn’t 'the end' as people sometimes paint it. Old people still have dreams and fall in love. Old age is a bit like thin air at the top of the mountain, still important, still very much present. I hope this play is moving and funny, but in no way depressing, which a lot of plays about old age tend to be.”
And funny it is, the dialogue between Maurice (Julian Glover) and Helena (Sheila Reid) is spot on in its depiction of a couple who are so familiar with each other that they appear both devoted and dismissive in equal measures. Their relationship with their new live-in nurse (Nichola McAuliffe) further reveals Maurice’s dreams and Helena’s jealousy of his love for the Queen.
Nichola was amazed at the positive reaction the play received at Edinburgh. “I thought I’d have more success with a play about grunge, grinding, full-frontal nudity than a tender piece about a couple of octogenarians.”
Transferring Maurice’s Jubilee to nationwide venues six months later has allowed time for parts of the play to be developed. Director Hannah Eidinow says that changing from 90 minutes with no interval to two seperate acts has been liberating.
“There were scenes that were crying out for a bit more,” she says, ‘just some added information or a bit more precious dialogue. We’ve now had the luxury of adding more rather than being in that familiar and frustrating position of cutting back. We’ve been able to give the play some air.”
I watch Hannah during the rehearsal and notice she still laughs out loud at some of the lines, even though she’s seen it many times before - surely a very good sign. And Nichola, even though she’s on stage, has been listening too.
“I wanted to see if you people laughed at the new lines, and you did. You’ve been a very useful audience” she says with a grin.
Think nothing of it Nichola, the pleasure was all ours.

Maurice’s Jubilee will be at the New Victoria Woking from February 12 to February 23. The play is presented by Pleasance and PW productions in association with Wild Thyme Productions and the Ambassador Theatre Group. Full tour dates click here.

Wednesday 16 January 2013

Mark Michael - brash and savage with velvet undertones



Mark Michael's paintings are satirical, striking and sometimes a bit saucy.  He says he likes the odd and unsettling, the banal and acute, the brash and savage. A bit light marmite, you will either love them or screw your face up and wince a bit.

A quote from Mark's artist’s statement caught my eye. It says:
“I draw inspiration from the darkness along with the well-lit areas of life”.
Armed with this information I strolled around his newly opened exhibition at the Lewis Elton Gallery  to see whether this is true.

Mark works mostly in acrylic on canvas - bold block colours, strong lines and a hearty scattering of type make up the majority of his work. He feels that the introduction of type and the repetition of familiar phrases helps people relate to some of the work.
It certainly made me linger longer over a painting of a youth telling his mum “I’m going out now”,  and her repeated retort “But you haven’t had your tea yet” struck a cord with me. There is something slightly sad about their communication and the simple silhouettes of the two figures combined with the random selection of copy works well.
On another wall, two scrawny chickens lean in towards one another, apparently having a row. The image is striking - the birds are set against a bold green background - and the random ramblings of each bird effectively adds to the image. There’s a story in there somewhere and it’s worth taking the time to work it out. Much of Mark’s work is graphic and clearly considered - I don’t get the impressive that he’s just thrown it all together.

Mark explained to me where his strong sense of order comes from:
“I studied sculpture at Winchester Art College,” he says, “and those solid, structural elements I learned on the course have been very useful in my painting. But I felt a bit restricted by sculpture. I love the freedom of paint and the wonder of words, combining the two has been a recent development for me and I am loving exploring it further. The current popularity of social media also opens doors in my mind about the use of words and text.”

Mark’s work is divided into 4 different categories, one of which is Satirical and another called Taboo. Here we see work that some might call ‘warts and all’ except that the warts are barely visible - but everything else is. His linear view of the female nude, viewed from the knees upwards, is spectacularly accurate in a wonderfully graphic style. I’m not how or why it could be offensive but Mark says he’s created his Taboo category because some people get easily offended:

“The images in my paintings and prints are stark and brief. I am drawn to the odd and unsettling; the banal and acute; the brash and savage. Creatures both human and animal fascinate me and play a large part in my work.”
I found the whole collection absorbing and refreshingly different and yes there is a mix of darkness and light. Not surprisingly The Art Investor recommends Mark Michael as ‘one of Britain’s best young artists’. Catch him at the Lewis Elton gallery before the end of this month.
Mark Michael’s The Society of Fickle Fingers will be at the Lewis Elton Gallery, University of Surrey campus, until January 31. Website: www.markmichael.com
He will also be exhibiting at the Aura Gallery, Mayfair in a one day show on March 26.