WANDERINGS AND WONDERING OF YOUTH

Regular readers of these pages will know that travel comprises a significant part of my life, even to the point that I once had homes concurrently in three different countries.

But, when I look back now, of all the hundreds of journeys, vacations and adventures since my first flight – aged three – to Zurich from London on a Swiss Air Caravelle (I remember that we sat facing each other with a little table between us, as on a train) – there are eight trips of which every detail remains etched into my memory.

All of these trips were specifically formative in that they either changed my life in a literal sense, or my perceptions of life in some fundamental way. Followers of this blog might already be aware of some of these episodes.

Firstly there was the trip to Israel in 1967 just weeks after the Six-Day War which blew both my 7-year old mind and my 1960’s, suburban British olfactory senses. I vividly remember being on the Golan Heights, walking along the safe paths marked out by Israeli mine disposal teams, into Quneitra and dozens of Syrian military documents blowing on the dusty hot winds like confetti. And equally, I recall the first time I tasted real humus and roasted eggplant and being almost emotionally overcome with the sheer pleasure of it;

Then there was a gastronomic drive along the length of France in 1970 which turned me into one of the England’s most precocious connoisseurs of food and wine;

A year later, I was treated to my first visit to Spain where I discovered the hitherto (to a typical Jewish lad like me) forbidden twin joys of fried bacon and fresh shellfish in addition to poolside cocktails and luxury hotels. The fact this was all part of a photographic shoot for Max Factor and that I spent the entire time in the company of two of the UK’s top fashion models was the icing on the cake for a sexually curious eleven-year-old;

Fourteen years after it was Andalusia again, but this time a romantic five days in Seville, in the company of a beautiful law student, where I discovered the exotic joys of tapas washed down with ice-cold fino and late-night flamenco.

About a decade later in 1991 saw my first flight across the Pond, where the sublime “New World” strangeness of newly-democratic Chile bludgeoned me back into painting landscapes and left me a life-long lover of cazuela de pollo;

Then, twelve years after that in 2003, there was our visit to southern India where I was held enthral to the equally glorious and wonderful strangeness of ancient Tamil Nadu and Kerala and where I discovered that a mostly vegetarian diet could almost be fun (not to mention hugely fattening);

In 2007, I made my first trip to Australia, which, especially in magnificent Melbourne turned out to be quite simply the most enjoyable and mentally invigorating shattering of dearly-held pre-conceptions I have ever experienced;

And finally, just this January, when the cliché “better (incredibly) late than never” took on a whole new profundity for me after my first visit to New York City left me and all my senses dazed, awestruck and ecstatic in equal measure.

However, when I ask myself what was the trip that played the biggest and most enduring role in shaping the adult I eventually became, it would have to be another of the trips I made to Israel; this time in in 1978, during the summer break of my first year at Saint Martin’s School of Art.

The pictures below are all that remain of my “Wanderers Period” and represent the most eloquent way I can describe the feeling and atmosphere of those six weeks; the highlight of which was when four of us – two guys and two girls – walked the entire circumference of the Sea of Galilee in two days. We slept on the pebble beaches, and lived on falafel and bags of crisps washed down with cheap wine, accompanied by the dulcet tones of Weekend in LA on our cassette player. Without going into details, it became my coming-of-age drama in every sense, emotional, intellectual, spiritual and of course, sensual. It was my “Summer of 42”, except it was 78. It was when I truly fell in love with life and this Earth (and the incomparable virtuosity of George Benson).

Most unfortunately, the large canvases that emerged from these sketches and scrawls I painted over the following year after my art school tutors deemed them “unsubtle, hopelessly romantic and naïve” – they were a bunch of passionless idiots, but that’s another story. Nevertheless, I think these pictures, for all their rawness, convey the power of an 18-year old’s emotions, lusts, yearnings and wondering (and one or two aren’t bad drawings either)…

CHRISTMAS CARDS – THE BI-POLAR SERIES

Of all the people I ever dealt with in the various branches of the art world – “fine” and commercial – by far the most disreputable (and this includes gallery owners, art dealers, advertising bods, and even agents!!) were the greetings cards companies.

A good example of what I mean is represented by the set of cards displayed below. Around 1990 I had the idea of doing humorous cards based on Arctic/Antarctic/Polar themes. I was particularly pleased with the way the dark blue starry skies and snowy landscapes threw the subject matter into sharp relief. They just looked great and I knew they worked and I knew they would sell well.

Anyhow, that Spring I arranged a meeting at the offices of one of the UK’s leading card companies to see what they thought of the designs. After a brief discussion the lady who interviewed me asked if she could keep the pictures for a week or so to enable the “production team” to give them full consideration…

Stupidly, I agreed to this, without even so much as a signed receipt from her proving that she had taken temporary possession of the designs.

About a week later, the lady met me in a cafe behind Selfridges in London and returned the artwork to me, saying that “the team” had decided that the designs were not for them after all.

To my dumb and ingenuous horror, my designs, redrawn by different artists appeared in the shops later that year. After speaking with a top London copyright lawyer I realised that my position was probably hopeless as I had no sure way of proving that the company had had possession of my designs, or that my designs predated those now being printed and sold – in their thousands! Moreover, he told me, even if I did win a legal case – back in those days at least – I would still most likely have ended up out of pocket.

It was an exceptionally painful lesson which contributed significantly to my decision to turn away from art.

Nevertheless, presented here, for the first time is that series of original designs. I think you’ll enjoy them – even if you’ve seen them before – sort of…

MY “DON’T” SERIES – (of greetings cards)

Can’t recall if I already mentioned that for a while I made a modest crust designing greetings cards and I also can’t  recall what on earth the concept was behind this “DON’T” series?  I cannot think of many occasions when one would either present, or wish to be presented with the sort of messages displayed here. Perhaps I actually intended them as posters for a psychiatrist’s waiting room? Who knows?

They were done using sheets of coloured acetates with drawn-then-stenciled figures positioned beneath. In the pre-digital age, this was a tried and tested method for artists on low budgets (without access to things like lithography or screen printing) to achieve clean blocks of solid colour and sharp edges.

Whatever, the images seem reasonably affecting looking at them now.

MOODY GIRLS – in tone and colour

Here is a sample of my latest digital reworkings of some of my most commercially successful old library and sketchbook images.

More beautiful girls, fully clothed (more or less) and in regular – taken-from-life (also more or less) poses.  The girl in the polka dot dress is an obvious homage to that famous Athena tennis girl poster (from my back garden in Edgware in 1979) and there are also two of my wife Dido (one in Chile – 1991 and the other in the gardens of the Alcazar in Seville – 1988). The other two are of a girl on a trip to Israel from around 1980 (one at Ramon Crater in the Negev and the other at Rosh Hanikra).

I’ve had a few queries regarding the “validity” of these works in comparison to actual paintings, drawings and lithographs etc. Well, all I can say – at the risk of sounding hubristic – is that it takes not a little skill, and an intense amount of work to produce each and every picture. To all intent and purpose I am painting and drawing with the mouse in a way remarkably similar to using pencils and brushes. Often, a digital picture can take longer to execute than one of my old gouache paintings, and the results, for me at least, are just as satisfying. I love the contrast of the natural lines and edges containing pure and clean blocks of tone and colour. The level of satisfaction at completing one of these pictures is likewise, at least as complete as I used to feel after a day or so working on a gouache.

But, as ever, this is only my opinion. See what you think…

OILS ON PAPER… “FORM THROUGH COLOUR”

I fancied myself as something of a colourist around the the time I started at Saint Martin’s (1978/79), when this selection of oils on paper dates from. The idea of expressing things like bodily posture and even personality and human attitude through blocks of colour – with just a bit of assistance from drawn lines – was a concept which had interested me since I’d first started looking at pictures by anyone, from Matisse to Mathew Smith.

The paintings here are all of people (including one each of my maternal grandparents) done from life, which even then, was unusual for me – I was always more of a studio artist than a “field artist”. All of my early oil paintings were done on paper (like those presented below) or board. It was only once the generous student grant kicked in (those were the days!), when I’d actually begun at St. Martins, with access to subsidised stretchers and countless yards of cotton duck that I was able to enjoy the use of canvas.

Looking at these pictures now I’m struck by how fresh they look, and despite some pretty crude handling of paint, how closely they portray the subjects.

All in all, they’re not half bad, and the pictures of my much-missed booba and zaida  (the bottom two – Becky and Harry Pizan) are surprisingly evocative and poignant- for me at least…

The Wilderness of Zin – Yahweh’s Kingdom?

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This next post is a rare acknowledgement by yours truly of the approach of a Jewish festival. The Ten Days of Penitence, beginning with Rosh Hashana (the Jewish New Year) and culminating with Yom Kippur (the Day of Atonement ) are nearly upon us and it got me to thinking about desert landscapes.

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I nearly always think of desert landscapes when any of the four main (“Mosaic”) Jewish festivals come around (Rosh Hashanah, Passover [Pesach], Pentecost [Shavuot] and Tabernacles [Succot]) as they were all – according to tradition – conceived during the desert wanderings of the Children of Israel – sometime around the 12th to 11th centuries BC.

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These days most biblical historians, archaeologists and scholars dispute these wilderness origins for most, if not all of these festivals, dating them instead to reigns of the later kings of Judah – somewhere about the 8th to 7th centuries – or even as late as the Babylonian exile during the 6th to 5th centuries BC.

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But whatever the exact historical origins of these celebrations they are fundamentally related to the worship of the ancient desert god Yahweh – one of the several Israelite/Hebrew components for what would gradually evolve into the eventual single Jewish God.

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Having been fortunate enough to travel extensively throughout most of the “Mosaic Wildernesses” – known today as the deserts of Sinai and the Negev (or Arabah) it is not hard for me to understand how the ancients came to regard these spectacular landscapes as the domain of supernatural beings, and even gods. They have a mystery and a feeling of wonder, which in certain lights and conditions can be almost overwhelmingly sensually intense. The evening winds cascading and rebounding through the canyons of the southern Sinai mountains at dusk sounds like the angry roar of giants – or even the voice of the gods.

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However, the current scholastic consensus is shifting northwards from southern Sinai to the less lofty, though equally spectacular jagged hills and psychedelic plains of the central Negev – formally known as the Wilderness of Zin – as being the true domain of the Hebrew Yahweh and even the location of his sacred mountain stronghold of Horeb.

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Whatever the eventual verdict regarding the birthplace of the Jewish God will be – assuming a verdict is ever arrived at – Zin remains my favourite place on Earth. I think these images here give you a taste of the “divine” and rugged beauty of the place.

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A very hearty Shanna Tova to you all!

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STOCKHOLM’S INDIAN SUMMER

I get the feeling that a warm, sunny September in Stockholm is rarer than a hen’s tooth, and judging by the way the locals were eagerly soaking up the precious UV, like squirrels frantically collecting nuts for winter, this was an extremely welcome climatic anomaly.

In any event, the low-slung solar disc  was a tremendous bonus for me as it cast a magical golden light and long shadows on a city even more handsome than its inhabitants. In the images presented here I’ve tried to encapsulate the experience of  seeing colourful Stockholm bathed in that extraordinary light and contrast.

Mind you, rarely have I gone anywhere for a first visit with more preconceptions, and the sight of so many impossibly good-looking, blonde, bronzed sun-worshipers fulfilled two of those on a very long list. (The rest of that list, in regards to preconceptions both confirmed and shattered is a definite subject for a future post).  Enough to mention here that something I wasn’t expecting was the apparent identification many men of a certain age in Stockholm seem to share with Jeremy Clarkson – I’ve never seen so many men, in one town, of 50+ years of age, in white shirt, sports or leather jackets and tight jeans…

THE MORNING-AFTER…

A while back I posted a gallery of images of a lovely girl from Toulouse who posed for me after a night of love-making. 

In the decades since that wonderful night and thrilling morning-after I have returned to these images many times, in different media; from charcoal and coloured inks, to pastels, oils and most successfully – from a commercial standpoint – in gouache. In fact, it was the gouache originals that inspired the pictures in that earlier post.

However, I’ve long thought that a Matisse-esque, colour block / cut-out technique would most suit this subject – an uninhibited French inspired method for an uninhibited French subject. 

After many long hours of honing my Photoshop skills I think I’ve achieved my aim of making fun, jazzy and – in this case at least – sexy images. The several people who have seen them in preview have universally approved and now I’d be most interested to know what you, my followers and other viewers make of them?

MY ART CAREER 3 (d) – SAINT MARTINS 1979: NUDE SKETCHBOOK

In an earlier post I promised to reveal the fruits of my hours spent in the life room at St. Martins.

I always try to keep my promises, so here are the contents of my sketchbook dated 1979.

Looking at these drawings now after so many years hidden away in a drawer in my old plan-chest, what strikes me is their raw honesty. How good or bad they are I’m not the one to judge (although I’ve seen worse), but whatever else, they are truthful, even to the point of portraying how terribly bored the models were in most of the poses. I can also perceive the instinctive cartoonist in me trying to break out, especially in F&M 1.

I referenced several of these in my biblical themed paintings later that same year, especially the Adam and Eve series, and then in 1980, a couple of them were very useful for my “Wanderers” pictures.

TEX-MEX SURPRISE – SAN ANTONIO

I guess it was those repeated boxing -day viewings of John Wayne’s “The Alamo” throughout my early childhood,  which formed my earliest imaginings of San Antonio. So much so, that all the travel books and all the Googling and all the acquired knowledge from numerous TV documentaries about the great modern-day city it has subsequently become could not erase those preconceptions. As  ever, it was only by actually visiting  the place that reality could finally trump the Hollywood representation in my mind’s eye.

Unlike most of its “fellow” mission station at Rorke’s Drift – the scene of an equally heroic-if-more-successful stand against vastly superior numbers – the original Alamo mission building  is still standing, and remains the city’s main tourist attraction. But equally, in stark contrast to its South African equivalent where the scene of the battle has barely changed since 1879, the Alamo building, now stranded in the middle of a thriving, colourful modern city – rather like an old man at a rave  – evokes little of its historical connection to the conflict of 1836.

For me at least, this did not prove a disappointment, as the city itself has so much more to offer the contemporary traveller than the murky history of Davy Crockett’s doomed and vainglorious encounter with Santa Anna.

Apart from all the culture – of which there is plenty, like most American cities – and  the delicious Texan, Mexican and Tex-Mex cuisine on offer, there is the beautiful “river walk”.

The river walk is an elaborately engineered system of canals and waterways by which the once lethal San Antonio River now flows harmlessly and elegantly beneath the downtown area of the city. Like a kind of sub-tropical Amsterdam-cum-London’s Regent’s Canal, the river walk by day offers a cooling and serene contrast to the stifling bustle of the commercial streets above, and at night transforms into one great waterside party. Long sections of the water walk are lined with countless numbers and endless varieties of eateries and bars, with plenty on offer for those not satisfied with merely tacos and beefsteak, from British style gastro-pubs and high-end French and Italian bistros and trattorias , to every type of Asian cafe and restaurant. It’s a simply wonderful place to while away an evening or several!

The images presented below barely do San Antonio – and in particular the water walk – justice, but they do begin to give the feel of the place.