BEAUTY IN DRAB PLACES

and if vermeer had USED an iphone…

In my previous post I described several instances of discovering wonderful food in the plainest of locations, and since I published that piece, I have also discovered human beauty in an unexpected location.

It happened in Almuñécar, a seaside town on the Granada coast. We were there for the annual “Jazz en la Costa” music festival, when we were enjoying a late post concert beer at an all-night churreria and crisp (chip) frying shack on the beach.

Dido, our friend Pepa and I were feeling a bit down having just witnessed a hugely disappointing performance by the legendary jazz pianist, Abdullah Ibrahim. Unfortunately the elder statesman of South African jazz had a very bad night indeed, constantly hitting off-notes and missing his queues. And that, compounded by the hapless attempts of his sax and double bass accompaniasts to occasionally play jazz riffs on piccolo and cello respectively! So embarrassingly awful was the performance, that we upped and left early to seek solace in some liquid refreshment, and so found ourselves at the churreria.

Within seconds of sitting down at the table I became captivated by a scene of such elegant industry and confident movement, the recent memory of Mr Ibrahim’s faltering piano playing drifted away on the Mediterranean night breeze.

These images are my photoshopped fun attempt to turn a few hastily snapped iPhone photos of that effortlessly stylish scene into a modern-day Vermeer-esque tableau. I hope they please…

DIVIDING LINES

ONE PLACE -TWO REALITIES

The Little Street, Johannes Vermeer

Together with the pictures in my previous post, these few images are my oh-so-humble acknowledgement to my favourite painting “The Little Street”, by my favourite artist, Johannes Vermeer. If I’ve got things right the linkage between my puny digital dabbles and the greatest masterpiece painting in the history of Western Art should be pretty obvious. But do be sure to look beyond the sublimely painted edifice and brickwork to the four characters who inhabit the canvas. The house, for all it’s glory is merely the device, and that’s the point and the joy and the thrill of Vermeer – more than any artist before or since – sorting out his devices from his themes. This is what I’ve tried to bear in mind when making the images presented here…