I REALLY DON’T KNOW CLOUDS AT ALL…or why I tried to capture nature’s atmospheric ephemera in paint.

 

“I’ve looked at clouds from both sides now
From up and down and still somehow
It’s cloud’s illusions I recall
I really don’t know clouds at all…”

Joni Mitchell  1969

Clouds 2

As we flew into Madrid a couple of flights back we descended through a dense and towering bank of clouds. From above, bathed in late afternoon sunshine the great stacks of vapour were a kaleidoscope of whites, golds and deep shadows. After a couple of minutes of being buffeted we emerged from beneath what appeared as an upturned flat grey carpet. The contrast between the two views, from above and below the clouds was stark, and as we made our landing approach the Joni Mitchel song From Both Sides Now came into my head (although I should say that I was hearing Sinatra singing Don Costa’s more schmaltzy arrangement).

Clouds 3

This in turn reminded me of my first year as a fine art foundation student at Harrow School of Art and the weeks I spent that autumn sketching clouds from my vantage point in the library.

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The library was on the top story of the building, and with its large picture windows offered unimpeded views of Harrow Wield and the constantly changing big skies above.

Clouds 5

At this time in my burgeoning art career I was still steeping myself unashamedly in the grand English landscape painting tradition established by the likes of William Turner, John Constable and the sadly, mostly overlooked, John Crome.

Clouds 6

The importance these painters placed on accurately depicting the skies which illuminated and shaded the earth below is attested to by the reams-upon-reams of their cloud sketches still adorning the walls and the display cases of galleries throughout the land. And for me, as a student of English sky painting, it was the eternal freshness of these sketches which excited me so much more than most of these same artists finished masterpieces, which often appeared so formal and contrived by comparison. I remember the thrill I experienced the first time I saw Constable’s watercolour cloud studies at the Tate Gallery (now Tate Britain) as a child, and how these 150-year-old pictures looked as if they had just been painted. I could almost feel the frantic movements of the brush across the paper as Constable raced to capture a single atmospheric moment.

Clouds 7

It was either Constable himself, or one of his equally gifted colleagues who once said “the more I paint clouds the less I feel I know them” – or words to that effect. For his part, Turner, in his desire to understand the nature of clouds attended the Royal Society lectures of pioneering meteorologist Robert Fitzroy.

Clouds 8

The one thing that both Constable and Turner did know about clouds was the part they played in defining English landscape. Virtually ever-present in our skies; masking and or diffusing the sunlight; constantly shifting the colour and tone of the land; the atmosphere’s grand controller of dramatic effect; the need to portray clouds accurately in paint was key.

Clouds 9

Anyway, the point of this appropriately rambling post, like banks of cumulonimbus scudding above the Harrow Wield, is to explain why I too, for a relatively short while at least, became obsessed with clouds, and despite studying them in watercolour for weeks on end came away realising the wisdom of Joni Mitchell’s lyric…

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A MOST PLEASURABLE BUSINESS – scrumpy, apple brandy and a book cover design…

While I would generally agree with the saying that business (or work) and pleasure shouldn’t mix, I’ve been fortunate to successfully buck the adage on several occasions.

In the late 90’s I won two illustration commissions from the British-based Campaign For Real Ale (CAMRA). Short of working as a Michelin restaurant inspector, this was as close to a perfect job as I could have wished for, encompassing as it did two of my favourite British passions; beer and pubs, and getting reasonably paid for it into the bargain.

Both commissions were for covers for two of CAMRA’s newer guides: The first; for their guide to Pubs for Families and; the second, for their first ever Good Cider Guide.

Living as we did then in the county of Kent – otherwise known as the Garden of England – surrounded by gorgeous country pubs I barely had to travel more than a few yards from the front door of our cottage to find all the architectural and ale-related inspiration I required for the first commission. Moreover, our close friends and neighbours at the time, together with their two young kids comprised a particularly representative version of the typical pub-visiting English family – perfect models for the cover’s human content. However, the second cover posed more of a logistical challenge.

For those reading this not familiar with the details of English cider or its production there are a couple of things which I should point out. Firstly, unlike so many of its continental and North American cousins, English Cider is strong in alcohol – often seriously strong. Also, there are two basic types of Cider: The massed produced variety; made by half a dozen mostly, multi-national companies; pasteurised, gassy, crystal clear, and ranging from sickly sweet to semi-dry. Then there is the drink CAMRA’s new guide was highlighting: Made by small, often family outfits, to age-old recipes; unpasteurised, still, normally unfiltered; using dozens of local apple varieties with an infinite range of flavours and styles and mostly known these days as “Scrumpy”. These two highly distinct types of Cider have only three things in common: They’re both made from apples; they’re both highly alcoholic, and production of both are concentrated in the two main apple-growing regions of England; the south west – centred around Somerset and Devon, and the west Midlands – centred around Herefordshire.

It seemed to me early on that as the central theme of the Cider guide was “authenticity” I should find some way to express this in my picture for the cover. So, while it would have been so simple to set up a still life with a pint of scrumpy in my cottage studio, I decided I’d get better results by doing some actual research. The fact that this research would entail the odd bit of product sampling would merely help my striving for authenticity!

After some discussion with my very knowledgeable contact at CAMRA and a few phone calls I managed to arrange to visit the illustrious 200-year-old cider maker of Burrow Hill in Somerset (now known as Somerset Cider Brandy Company and Burrow Hill Cider*).

When we arrived, the orchards were draped in an appropriately hazy, golden autumnal light, and cider production was in full swing. As wine makers, Dido and I were used to the heavy pungent odour of crushed fermenting grape across our Spanish finca, but this was nothing compared to the aroma of hundreds of thousands of crushed and fermenting Somerset apples. Burrow Hill boasts some of the oldest and most picturesque apple orchards in England, bearing over forty apple varieties. The visit was intoxicating in every sense; visual and olfactory. Moreover, and to our surprise they not only made delicious ciders, but ten years earlier they’d begun making brandy too. The ones we sampled were every bit as good, if not better than most Calvados.

In our long experience of visiting wine makers, from the most prestigious chateaus in Bordeaux, to the most remote and humble boutique winery in the middle of the Negev Desert, we’ve always had warm and cordial welcomes. Yet, none to surpass the friendliness and helpfulness displayed that day by the people at Burrow Hill, who went above and beyond the call of duty to help me get the material I required. It remains an apple infused, golden memory as I think the pictures shown here attest…

 

*For those of you interested in learning more about the story of Burrow Hill and its delicious range of apple-related liquids you can visit their website here: https://www.somersetciderbrandy.com/

 

“YOU SAY MERON, I SAY MAROMA – let’s call the whole thing a tantalising 2800 year-old probability…”

In 1983 I painted one of my largest oil paintings on Canvas, and at over seven feet high (about 2.1 meters) it was certainly the tallest oil I ever did. It dates to the height of my post Saint Martin’s landscape period, intended as the center piece for a proposed exhibition of my works at the Israeli embassy in London (why that show never materialised is a story for another post). At the time, I still harboured a naive ambition to become a sort of 20th century successor to artists like Claude Lorraine and William Turner, and was thus obsessed with the spectacular, the epic and visions of the sublime. As with the subject of an earlier post (https://adamhalevi777.com/2017/06/15/masterpiece-or-merely-a-collection-of-successful-daubs/), I was still, at this stage, exclusively applying the paint with brushes, and consequently, my pictures could take weeks to complete.

Mount Meron from Sefad manifested as one of the more arduous pictures I painted, taking around a full month from sketch to final brush stroke. But, it was also one of the most satisfying experiences of my painting career as regards both making the painting, and my contentment with the finished work. My “technical intention” had been to draw the viewer in from the bottom of the picture and then send them on a virtual journey down into the valley and then upwards towards the distant mountain. My “intellectual intention” had been to stir the mind of viewer by the use of “sublime” tonality and rich graduated colour. Whether or not I succeeded as well as I believed back then is hard to tell without standing in front of the painting itself (last I heard, residing on the walls of a private home somewhere in France), but from the little one can tell from this format I didn’t do too badly.

Ten years later, toward the end of 1993 I made another large oil painting of another mountain, but for very different reasons, and with a very different approach. Around the mid to late 80’s I’d become bored with brushes and moved on to the more immediate and primal method of applying thick daubs of paint with palette knives. My mostly large canvases, were still spectacular and even epic, but “the sublime” had been replaced with raw painterly passion. The spacial illusion of the former supplanted by a flat tapestry of thick impasto.

[Mount] Maroma Sunbathed turned out to be the final large scale oil on canvas I ever painted – or “knifed” (about 4 foot square). I did it the first day my studio was set up in our then-brand new house in southern Spain. After eight long, hard months of building the house and living rough (see: https://adamhalevi777.com/2017/03/01/the-folks-who-would-live-on-the-hill-the-story-of-the-building-of-our-home-in-southern-spain-in-pictures/) the work was a celebratory expression of pure joy and relief. I merely pointed the easel at the mountain across the gorge from our home and proceeded to pictorially express the view before me. It took only about two hours, from start to finish.

Two oil paintings of two different mountains; executed in two hugely contrasting styles, separated geographically by 3000 miles and ten years in time. But here’s the funny thing; the genuinely wondrous thing. For, totally unbeknownst to me until I prepared and researched this post; I was painting two mountains with the same name!

Briefly; the name of the Galilean mountain, Meron is recorded in the Bible, in which it is also known as Merom, which itself (and this is the bit I was ignorant of until very recently) is an ancient Hebrew derivation from the earlier Canaanite Maroma.

The Canaanites in question were either identical with, or at least closely related to the Phoenicians of ancient Lebanon, and who ruled over what later became Galilean Israel well into the time of the early Israelite kings – perhaps as late as around 950 BCE.

About 800 BCE, Phoenicians settled along the southern and south western coast of Spain and quite possibly, in a way identical to European colonisers of the New World, brought the place names from their old world with them for recycling in their new land.

Bearing in mind the similarities the settlers would have noticed between the two mountains; both being the tallest in their native locales (the Galilee and the Axarquia respectively) and both sharing strikingly similar physical form, it seems highly plausible that they named their new mountain after the original Maroma.

This is at least as plausible as the currently accepted theory, that the word maroma (which means a rope or a cord, or a twisted flax in modern Spanish) has vague Arabic origins, but with no apparent etymological evidence for such a linkage. Far more likely it seems to me, that just as the Phoenicians indisputably named the nearby city of Malaga (Malaka – mlk), so too they named the region’s most imposing mountain, Maroma!  The fact they were the subjects of my two most ambitious mountain landscapes proves nothing on the other hand, but it is one hell of a coincidence…

 

 

 

ULTIMATE PORKY COMFORT (delicious, bangers and mash with onion gravy and mushy peas)

For the no doubt many of you who for whom egg-sucking and grandmothers comes to mind when seeing this recipe, my sincere apologies. My excuse for publishing what must seem such a basic and obvious recipe is simply the mounting number of quite awful plates of food purporting to be bangers and mash I have been obliged to eat in recent times – mostly due to the treble scourge of fruit “enhanced” sausages non-pork sausages and non-mushy crushed garden peas.

Regular readers of this blog will probably have seen my fairly recent post on cottage and shepherds pies (https://adamhalevi777.com/2017/03/16/no-raw-mince-please-sorting-out-your-cottage-from-your-shepherds-pie-and-how-to-make-the-genuine-articles/). The other two standard “British classics” currently finding favour across the globe are fish and chips and bangers and mash. The steady advance of the latter dish is aided by the fact that British and Irish pork sausages (at least the massed produced varieties) are becoming increasingly available, especially (but not exclusively) in those lands with significant British and Irish diasporas. Subsequently, and unlike with shepherds and cottage pie, it’s quite possible to get authentic bangers and mash anywhere from Singapore to Santiago de Chile.

Talking of all things “authentic”, my followers will know that in culinary matters I am something of a stickler – not say a pedant when it comes to authenticity.  And so far as bangers and mash is concerned there can only be one type of banger; the traditional British Isle pork sausage.

This is not to say that there is not a fair range of sausage types within that definition – from high-end handmade Cumberland coils and Lincolnshire links to the humble massed produced so-called “butchers” sausages produced by firms like Walls, Richmond and the big supermarkets – and they all have their merits, mostly depending what mood you and your fellow diners are in. Speaking for myself, if I’m feeling like a meaty, herby sausage I’ll cook up a batch of Lincolnshire sausages made by my pucker local butcher, with a 90% plus meat content and little-if-any filler or rusk. On other days however, I’m just as likely to have a hankering for the type of unctuous sausage I fell in love with in the canteen of my first art college, with as little as 50% pork content and loads of rusk.

The only constant I insist upon, in either a posh or the factory-produced sausage, is that it is basically plain, seasoned pork, with perhaps, just a touch of herbs such as sage or thyme.

Pork sausages with exotic inclusions such as onions, apples and even berries have no place in a classic bangers and mash, and as for sausages made from alternative meats, or even no meat at all!! Culinary blasphemy!

Beef, venison, wild boar, chicken or even Quorn sausages and mashed potatoes might be perfectly pleasant dishes (although I have my doubts), but they do not a classic “bangers n’ mash” make. Venison and boar in particular, lack the fat content essential for the production of a lush, juicy banger.

In any event, here is my take on the British and Irish classic, made with posh sausages on this occasion, plain creamy, buttery mashed spuds, and with their equally crucial accompaniments of rich onion gravy and mushy peas• (the current cheffy trend for minted, crushed fresh peas and  / or parsley-infused mash are other culinary evils to avoid)…

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Ingredients (for 2 people):

  • 1 tbsp of plain oil
  • 4 – 6 pork sausages
  • 1 large onion roughly sliced
  • 1 tspn plain flour
  • 1 tspn made up English mustard
  • 1 tspn Worcester Sauce
  • ½ litre / 1 pint of heated rich meat stock
  • 1½ lbs floury potatoes – peeled and cut up into medium dice for boiling
  • 2 oz unsalted butter
  • 5 fl oz single cream or full fat milk
  • freshly ground black pepper
  • 1 can of mushy peas

Illustrated recipe

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1) Preheat oven to 190° c (170° c fan). 2) Bring the potatoes to the boil and then simmer until soft. 3) Heat the can of mushy peas on a very low light in a non-stick pan, stirring often and never allowing to boil. 4) Heat the oil in a non-stick frying pan on a low heat…
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5) Gently fry the sausages on a low light for about 20 minutes until nearly cooked…
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6) Remove the partially cooked sausages from the pan and place them on a wire griddle in a small roasting tin and put in the oven for about 15 minutes…
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7) Meanwhile, raise the heat under the pan to medium-high, put in the sliced onion and fry until soft and starting to go brown at the edges. 8) Add the flour to the onion, stir in thoroughly and cook for a further 2 minutes…
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8) Add the stock to the onions, together with the mustard, Worcester Sauce, stir well, making sure to thoroughly deglaze the pan. Test for seasoning and adjust if required with salt and pepper. 9) Make the mash.
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9) Remove the cooked sausages from the oven – their skins should be lightly caramelised and crisp.
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10) Plate up and eat accompanied by a big red, a pint of ale or a large mug of strong English tea.

∗It’s possible to make one’s own mushy peas using dried marrow-fat peas, but they never come out as well as the canned varieties.

THE HERETIC SAVES THE DAY – or, how I came to paint the James Street Mural…

General ViewAs an amateur student of history, one of the phenomena I’ve noticed is how human nonconformities sometimes transform into mass consensus. It is perhaps one of the great historical ironies that people and ideas which start out on the margins of society, once adopted by society, have a tendency to marginalise the people of the existing consensus who previously marginalised them. This is a pattern common to all fields of putative human coexistence, which more often than not results in the followers of the usurped consensus being persecuted by the holders of the new. These persecutions are usually most obvious and brutal in the areas of religion and politics but they happen with equal intellectual ferocity at a cultural level.

In the 1960’s and 70’s Saint Martin’s School of Art was one of the world’s high temples of the-then recently adopted art consensus of Abstract Expressionism.

Abstract Expressionism developed out of the near-century old grand consensus of Modernism, in a similar way to how a reformed religion develops out of an existing ancient religion, with similar intellectual tensions and conflicts resulting – albeit without the physical violence.

Thus, when in 1978, a callow 18-year-old “classical” modernist, realist painter misguidedly found himself stuck for three years in the beating heart of western European Abstract Expressionism, his creative life was always going to be something of a struggle.

That young aspiring artist was me, and my time at Saint Martin’s School of Art was in fact, one long battle of wills between me and a group of teachers who almost* to a man and a woman regarded me as a hopeless heretic from the start. My overall experience of being “taught” comprised a mixture of verbal bullying – in an attempt to bend me to their will – and / or complete indifference to my work when these efforts eventually failed.

But one day in the Spring of 1981 during my final term at the school all that changed, when I was paid a rare visit to my studio by my 3rd-year head tutor John Edwards, who came bearing a surprising request.

The Greater London Council (now defunct) together with the construction company, Myton Taylor Woodrow were looking for a student artist to paint a temporary street mural to jolly up a large hoarding in James Street, Covent Garden during the area’s major refurbishment. They wanted a student because they only had £100 on offer for the commission, and they wanted that student to be from the local art college, which was Saint Martin’s. However, they also wanted the mural to be figurative, and that was where I came in.

Edwards was typically candid with me, and admitted that when first approached by the GLC he had suggested one or other of his star students in Abstract Expressionism, but when they insisted on a figurative artist, the only person he could think of was me. While there were a couple of other representational heretics in our year, Edwards told me that he thought I was the only one with sufficient mastery of grand scale painting to handle such a large mural.

With just a £100 to spend and two weeks to execute the project, I was tempted to refuse what was a virtually impossible commission. But the certain public exposure of painting a mural in a bustling London street adjacent to Covent Garden Opera House was an opportunity too good to turn down; so much to John Edward’s and the school’s relief I accepted.

With half the £100, I employed two of my fellow student “Modernist heretics”† to help me with the huge physical task of covering so much white hoarding in paint. This left me all of £50 with which to purchase the paint itself, the brushes and rollers and plastic paint-mixing buckets. The only paint I could afford in sufficient quantity to finish the job was the cheapest industrial emulsion, and because of the time constraint, it had to be quick-drying “matt”. In other words, this was hardly going to be a Michelangelo or a de Rivera so far as colour intensity was concerned.

In the end, the subject matter of the painting was as much determined by these extreme material and time limitations, as it was by the unusually wide configuration of the street “canvas”. And so I came up with the idea of all the highlights of the Book of Genesis, with each chosen episode “bleeding” into the next. With only a few days to make a scale sketch and then just five days (London weather permitting) to execute the actual mural I decided to go with a kind of Chagall-meets-comic strip approach, allowing for quick, strongly drawn cartoon outlines coloured in with simple large blocks of colour.

As things turned out, the weather was unusually kind for May in London, and the three of us completed the mural with hours to spare.

All things considered, including the lifeless paint, it looked pretty good, and graced James Street for about the following two years. It received favourable reviews from the London and Jewish press and was probably my first claim to 15 minutes of fame. Perhaps more importantly though, it earned me the appreciation of my school and its tutors for the first and only time, and I’ll never forget John Edward’s response upon viewing it; “You know Adam, I’ve often wondered why we accepted you at Saint Martin’s, but seeing this, all I can say is that I’m bloody glad we did!” Even heretics have their uses I guess?

*David Hepher and the late Henry Mundy were glorious exceptions to this general dereliction of tutorship, and for that they both have my undying gratitude.

Danny Gibson (now a brilliant printmaker) and Robert Lewenstein (the most gifted portraitist I ever knew).

 

A PARADISE LOST, AND ANOTHER “REGAINED…”

One balmy September morning back in 1983, my then-girlfriend and I were incredibly fortunate to have the Generalife (the famous gardens of the Alhambra Palace in Grenada) all to ourselves. In the years since, I must have visited the Alhambra half-a-dozen times but never again been anything like so lucky. In fact, on each successive visit the palace complex was becoming increasingly crowded until the final visit, when the experience resembled more being in the London Tube at rush hour than a gentle amble around one of the most serene man-made outdoor spaces in the world.

These days, people wanting to visit the Alhambra complex have to book a slot, similar to the system adopted by the authorities at Saint Peter’s in Rome, but all this really achieves is a regimented crush as opposed to a free-for-all melee.

While I wouldn’t wish to deter those visiting Andalusia for the first time from seeing one of the architectural and horticultural wonders of the world there are, dotted about the state other beautiful Moorish influenced gardens which still offer the kind of serenity the Generalife was designed to inspire. My favourite of these is the garden of the old castle (or Alcazar) of Seville.

In stark contrast to the mathematical perfection and order of its famous Granada rival, the Alcazar garden in Seville has a relaxed, informal and even ramshackle quality which has a calming effect the moment one enters its precincts. Even in the height of summer, its mature old trees, elaborately arched follies and numerous ponds and fountains offer a tranquil and fragrant, shaded refuge from the extreme heat which afflicts the city. It’s a fabulous place for a spot of contemplation and meditation away from the concerns of everyday life and thus also a fantastic place to sketch and paint.

I made the pen and ink pictures presented here in the early 1990’s during my second visit to the gardens. I’ve often found that deeply coloured inks have an immediacy and fluidity perfect for capturing scenes of exotic nature, man-planted or wild, as I hope these images confirm. And I’m guessing they do, as they comprised the major part of a sell-out exhibition in London later that year.

Seville Alcazar ExitSeville Alcazar Garden Arched FollySeville Alcazar Garden Folly ArchSeville Alcazar Garden Iron GateSeville Alcazar Garden Pond and CypressesSeville Alcazar Garden Small Fountain

THE BAR MITZVAH GIFT THAT KEEPS ON GIVING (or how I discovered the great British outdoors and seriously good British food…)

In April of 1973 I became 13 and was subsequently bar mitzvahed (yes, it is a verb in the Anglo-Jewish vernacular) . The event itself was typical of most traditional bar mitzvah celebrations, and followed the orthodox coming-of-age for boys format in most respects. This included all the usual suspects vis-à-vis the presents I received – except for one wonderful surprise gift. Unbeknownst to me, my mum and uncle (her brother) had planned a five day visit to the Lake District especially arranged around two of my passions; of landscape photography, and far more importantly, an abnormally precocious love of gastronomy.

Since my first visit to France three years before I had developed an unusually sophisticated palette in a juvenile, so much so, that it formed almost as important a part of my early teenage years as more typical factors such as a parallel ever-growing fascination with members of the opposite sex.

Many reading this now, especially non-British readers might be surprised that my mum and my uncle didn’t take me back to France, or to Italy or Spain, or just about anywhere in the world beyond the British Isles – if not for the photography element of the trip, certainly for the cuisine component. And while it is undeniable that in that dark long-ago of 1973,  a full decade before the reawakening of fine British gastronomy, good British food was hard to find, there did exist a few pioneering outposts of fabulous British cooking.

Of all the pioneers manning these few gourmet mission stations none played a more heroic role in the resurrection of fine English fayre than the formidable Francis Coulson at his famous Sharrow Bay Hotel on the shores of Lake Ullswater  in Cumbria, in north western England. Since 1948, ably assisted by his life-partner, Brian Sack, he reminded the British of the fact that their countryside and its surrounding waters comprised a national food larder as rich as any on the planet. Furthermore, he devoted his life to demonstrating  exactly how make the best culinary use of that copious store cupboard.

When mum took me to Sharrow Bay in 1973, Coulson was in his pomp, both in regards to his international reputation and the output from his hotel kitchen, and thus I was one privileged bar mitzvah boy! Not that the my rabbi back in north London would have approved, but to this day, my first taste of a Cumberland sausage, in the heart of Cumbria, at our first breakfast remains one of the many abiding and formative food memories of those fantastic five days. Manx kippers, and fried duck eggs were other breakfast wonders but after days walking along the lake shore and up and down the local fells it was the suppers that really sent me into bouts of ecstasy. “I’ll never forget” is possibly the ultimate cliché, but I can’t think of any other way to phrase my first experience of British game in the form of Coulson’s famous roast grouse, and the intense redcurrant jelly accompaniment. Other gamey wonders included saddle of hare and the finest venison stew I was ever to taste – at least up till now, and as for the Herdwick lamb chops and the trout, fresh from the lake itself cooked to perfection. And then the steamed puddings – simply the lightest, most unctuous, most well-crafted puddings in the universe. And I could go on, and on.

But oh, I almost forgot! There was also the photography, and while sadly for you, I can’t share the experience of the Sharrow Bay’s phenomenal kitchen, I can at least reveal something of the stunning scenery in which it sits. I’ve rendered these ancient images (originally taken on my trusty old Canonet 28) in a watercolour style, which I believe faithfully captures the dramatic beauty and changeability of the Ullswater environment.

In the mean time, anyone reading this with a curiosity for traditional British food at its finest or the majestic wonder of Lake Ullswater and its surrounding countryside, could do a lot worse than saving up for a few days at the Sharrow Bay – the best Bar Mitvah gift or any gift for that matter, ever!

 

Israelis at large…1977-1991

One of the things I’ve really been enjoying here in Sweden is playing with all my new toys, including my aforementioned fabulous slide scanner. It’s main purpose is to get my years of artwork digitally recorded and logged, but it’s also helping me rediscover thousands of my old general photos.

Between 1977 and 1991 I visited Israel about a dozen times and I never went there without at least half a dozen rolls of high quality slide film.∗ The pictures included here (presented in no particular order) cover most of those seventeen years and present a portrait of a diverse and multi-textured little nation.

∗Cameras used: Canonet 28 and Nikon FE / Film used: Kodak Ektachrome and Agfachrome.

DRY SUBLIME – gouaches of the Atacama

With only ten days to pick our olives and prune around a thousand vines, among many other farming chores here on our Andalusian finca, this post has few words and is all about the pictures. Suffice to say, I always felt the dry chalkiness of thickly applied gouache was a perfect medium for expressing the tonal aridity of the fabulous Atacama Desert. As ever, I hope all of you who pass this virtual way agree! Wishing all my visitors, readers and followers a 2018 as epic as the incredible Chilean desert itself…

 

 

MONOCHROME MEMORIES OF A COLOURFUL DAY IN THE PARK

My continuing trawl through thousands of old slide films for scanning is proving to be  not merely a trip down memory lane, but more a long voyage of haphazard, bitter-sweet (mostly sweet) rediscovery.

Because the films are all mixed up in no chronological or subject order , the experience of going through them is somewhat dreamlike in its lack of thematic anchorage. One moment I’m back in my childhood town of Edgware looking into the eyes of my first girl friend; the next, I’m hurtling down an Italian Alpine ski slope with the Martini ad music playing in my head before finding myself on a ferry in the middle of Puget Sound.  By the time I’ve completed a couple of hours scanning I feel emotionally jet-lagged. And so it was the other day when I came across one single complete black and white film of a lazy April bank holiday spent in Regent’s Park around 1983.

However, unlike so many of the mostly hazy memories evoked by this process, I found I recalled this particular day in almost every detail. For whatever reason that day is a vivid memory and being suddenly confronted by visual images of it was akin to being back there in the park. And, even more mysteriously, the fact the photos were monochrome merely crystallized my recollections .

For all of that, whether or not they are worthy of illustrating one of my posts, I am not so sure. However, if this does turn out to be simply an exercise in self-introspection, I do hope my that my regular readers and followers will indulge me this once. After all, at their core, these posts form an autobiography, and as such it would be incomplete without memories as colourful as this – albeit, in black and white…