22 Upper Brook Street, 
London W1K 7PZ

Gallery Hours:

Tuesday to Saturday
10am to 6pm

This event was collaboration of creative writers and artists, but the unusual thing was that the paintings/sculptures would give inspiration to writers (not the other way round). The writer wasn’t informed of any details of the source of the art work he/she chooses, no title of the painting or  artist’s name.  The writer had only to be inspired by the image. (Virginia Vivian, the poet, and I didn’t meet until the PV!).

I liked her poem so much that I may create a painting inspired by it.
Ikuko Danby

We have 3 members of CPS showing work in this exhibition; Linda Gold, Viv Pegram and Olivia O'Sullivan

 https://www.royalwatercoloursociety.co.uk/exhibitions/25/works/
These works showcase new talent and innovative approaches to water‑based media on paper.

Bankside Gallery
48 Hopton Street
London
SE1 9JH

dead still
no nervous skull-shakes

or scuttle-pecks

still

hiding in doorway shadows

as sun slides

like a drunkard

down dull bricks

head still

a single slice of bread

hollowed out by hunger

a noose of brown wholemeal

round its stretched neck

still

waiting for the rain

to disintegrate this frame

                                      or
step out

                                      be spotted

by twelve

               dirt yellow

                     hungry beaks

New Writing Scotland 30, edited by Carl MacDougall and Zoë Strachan        2012 

 https://youtu.be/8x6c2W_nGNA
Amazing film about an artist who continues to paint after going blind.

White Cube is pleased to present an exhibition of new work by Julie Mehretu at Mason’s Yard. Featuring large-scale paintings and etchings, the exhibition highlights Mehretu’s use of gestural abstraction as a conduit for evocative and charged emotion and intellectual enquiry.

Glenn Ligon has described the artist’s work as ‘traversed by history [...] grounded in urgent political and social questions while simultaneously troubling the limits of abstract painting.’[1] In these new paintings, which continue from the ‘Conjured Parts’ series begun in 2015, Mehretu employs a broad spectrum palette to create powerful, animated, complex canvases. Marking a continued departure from her earlier work which focused on a layered language of mapping and architectural detail, these paintings take the immediacy of a news photograph as their starting point. These include images of such recent pivotal junctures as the rallies of independence in Catalonia; the voracious wild fires of California; the violent white supremacy rally and counter rally in Charlottesville, Virginia; the instantaneous outbreak of Muslim ban protests throughout the United States; and the Grenfell Tower fire in London.

 

Two modern artists in particular could be useful for suggesting ways forward : Brice Marden and Adrian Heath. 

 

 

1.                   Choose a section (or large part) of a chosen painting and through a drawing concentrate on rhythms discovered.  (see Marden)

 

2.                   Break down areas of contrasting tone into simplified forms and derive an abstract image which might lend itself to making a collage/painting. (see Heath)

 

3.                   Make drawings from your drawings to simplify even further.

 

 

Adrian Heath was  interested in deriving paintings from his life drawings which could be developed by extending tangents to curves or expanding on negative spaces.

Contrast lyrical rhythm with geometrical structure?

You could also work from a still-life set up.

 

 

In our new series of short films, artists invite us into their studios to show us work and life under lockdown. 

Isolation studio
https://www.roamingroom.com/alternative-video-gallery