Aldeburgh Diary

You Are Here – some dimensions

  • Who are you? Different artists? An absent imaginary friend. A voyeur always watching?

Where or what is ‘here’ which here are you at?

  • Focus and viewpoint
  • Time changes – short term, long term
  • Exploration and deepening understanding
  • Subjective perception
  • Selective erasure (eg cars and rubbish bins)
  • Imagination and how I want things to be. The ‘here’ I want you to see (if I like you)

Pre narrative ideas:

  • Wide shingle beach.
  • Scallop and furore as symbol of the underlying conflicts.
  • Fishermen and sea
  • Seagulls flocking
  • Tourists.
  • Holiday homes.
  • Castle and vulnerability to the sea.

Sunday 11th June

Sun and cloud. 18/19c Windy. 18/19.
Smell of mown grass.
Cuckoos in the morning.

Walk into town. See Hambling Edge (is there gold on there?) and Walls of Water. Do iPad for Hambling, oil painting. Different textures. Do video and photos of sea.

Band on beach. Acoustic guitar. But not many people. Town feels quite empty.

Look at Lemenech Gill gouache. Multilayered and paint on top with white gouache, erasing. Pencil sketching. But good drawing. Use of muted colours.

Elizabeth Newcombe oils Paris. Cut out and exaggeration of shapes. Use complementary colours in overpainting.

Wind dies down at sunset. Fans in the sky. Then cloud again.

Walk along the beach to Thorpeness. Areas of beach fenced off to protect the plants.

Backdrop discussions on election fall out. Uncertainty.

Maggi Hambling

Monday 12th June


Cloudy, and wind. Light at 3.30 am.
Rabbit hops along. Bottom of new hedges protected.
Woke up really late and long breakfast to lunch.
Take more video of sea, gets over my shoes. Shingle between the toes.

Read Kovats drawing water. Quote from Salman Rushdie on Haroun and the Sea of Stories.
Drawing as lines of discovery.
Mapping
3D under the oceans

Me ideas: slowing down time. Time looking back. Not frenetic.

Van is shell sheltering from the storm.

Profile Arlene Foster DUP. Troubles and death. Uncertainty on election.

Tuesday 13th June


Cloudy and windy 20C

Reith lectures. The day is for the living Hillary Mantell. About history and fiction. Lots of imperfect perspective fragments and filling in the gaps.

Podcast

Read Ronald Blythe and look through history photos. Storms and Slaughden.
Sorted sketchbook.

Afternoon go to museum. Old Anglo saxon, and Roman dig.
Back through churchyard with Benjamin Britten and Peter Pears. and along leafy tunnel lane.

Worked on gouache, pastel and ink bleed brushes.
Went back through carnival sketches.

Feeling despondent – not enough time and too much to learn. About technique and about drawing.

Wed 14th June

Sunny 18C
Soul Music Radio 4
Sandy Denny Who Knows Where the Time Goes. Wrote from nowhere when she was 17. Confident on stage, very unconfident off stage. Depression, drinking etc with duffucult marriage. Seems like she committed suicide through falling down stairs.

Across the evening sky, all the birds are leaving
But how can they know it’s time for them to go?
Before the winter fire, I will still be dreaming
I have no thought of time

For who knows where the time goes?
Who knows where the time goes?

Sad, deserted shore, your fickle friends are leaving
Ah, but then you know it’s time for them to go
But I will still be here, I have no thought of leaving
I do not count the time

For who knows where the time goes?
Who knows where the time goes?

And I am not alone while my love is near me
I know it will be so until it’s time to go
So come the storms of winter and then the birds in spring again
I have no fear of time

For who knows how my love grows?
And who knows where the time goes?

Read more: Sandy Denny – Who Knows Where The Time Goes? Lyrics | MetroLyrics

Interview with young songwriter ren harvieu who had been out with friends. In dark they were jumping over hedges. One did not see her and jumped on top and broke her back. As she was pain relieved suddenly started singing the song. Nina simone rendering also.

Sketching on bench. Got a bit cold.

Hot midday. Mediterranean streets. By lookout tower. Band midday.

Practised acrylic styles. Old brush.

Went to the marsh. Footpath right across is closed.

Day of Kensington fire.

 

Thursday 15th June

Still discussing Kensington fire.
Hot morning so stayed in. Feeling tired. Then cloudy and windy. Starts to be sunny again about 3pm.

William Kentridge. That which is not drawn.

  • Provisionality. Virtues of bastardy. Receiving the world. Reversing the world.
    To reveal that which is hidden. Excess of making.
    Making 3 things at once, the cat and the coffee pot. Chaos.
    Unwinding, unfurling, contradiction.
    Changing, shifting. Erasing.
    To make a huge fiction.
  • Sighs and traces. Always longing for meaning. Mystery associated with the trace.
  • Drawer and viewer. Filling in the gaps.
  • Wanting to hold, needing to let go.
  • Slow drawing. Meditative.
  • Man is a walking clock. Gathering seconds, gleaning frames.
  • P6 “the migration of images, which is connected with what I am calling the virtues of bastardy and the question of provisionality. That is linked to questions of imperfect translation and construction. I am thinking here of a bridge or a plank over the gap of what you don’t hear or don’t understand, or of what’s not in the narrative and requires the activity of the viewer. I think it’s all part of one topic, but we have to try and find out in what ways they are related. Another concerns that which is hidden….excavating dreams and constructing their sense. And erasure as construction.”
    P71″I suppose I’m interested in the traces of what prompts a reconstruction, not just the trace nor the unreconstructed state. What prods an imaginative leap? I am making a drawing for which you see a foundation or a ground. And the interest for me is not not only the foundation or the ground but also what it suggests. From all the different possible things that could come out of it, I am interested in the end, in arriving at one, even if it’s an incorrect one. So it’s not a matter if saying, ‘Here’s a phrase, which is unclear, because there are words missing, that I haven’t heard.’ That suggests many things; it’s the leap into that suggestion, which is, in away, a leap out of indeterminacy. So indeterminacy is there at the base, but for me the interest lies in the movement into a drawing, into a sequence of movement. Indeterminacy suggests paralysis if you stay there.”
  • Photographs have only one focal point. But when we look we rapidly flip between the two.

Friday 16th June


Sun and cloud

Went out. Bought cards.
Boats watercolour
Tractor acrylic
Pointillist textures

Old Man of Orford

James Dodds linocut The Old Man of Orford

Orford Castle is associated with the legend of the Wild Man of Orford. According to the chronicler Ralph of Coggeshall, a naked wild man, covered in hair, was caught in the nets of local fishermen around 1167. The man was brought back to the castle where he was held for six months, being questioned or tortured; he said nothing, and behaved in a feral fashion throughout. The wild man finally escaped from the castle. Later accounts described the captive as a merman, and the incident appears to have encouraged the growth in “wild men” carvings on local baptismal fonts – around twenty such fonts from the later medieval period exist in coastal areas of Suffolk and Norfolk, near Orford.

Orford Castle Wikipedia

Saturday 17th June


Dawn and dusk

Aldeburgh Studios
Brian Coetzee and seagulls

Crag Path and dancing dog

Sunday 18th June

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