Friday, March 27, 2015

ART WORK FRAMED



As my painting presently takes place on very specific days each month, I work fast and it tends to be a process in which movement (across the paper and from one piece to the next) tends to drive me on. That is, I seldom have time to contemplate a finished piece.

So it is tremendous to see my work simply but professionally framed in a lovely setting. Thanks for this Helena.

Note: I say 'finished' but in an important sense these landscape studies are never finished. I've just stopped working on them before I push them to destruction.

ART IN A PINK BOX by RUPERT MALLIN


I've been creating a new range of boxes, mainly smaller boxes (3 by 2 by 1 inch) but this is bigger box (8 by 5 by 3 inches). All the items I use are found or are from the residues from house clearances. I'm not sure of the text which will accompany this box. I'm sure it will come to me soon.

ART IN A BLUE BOX by RUPERT MALLIN



Here is another large Out Of The Machine Box. This is very much a dramatic scene, set off by the dandy gentleman studying himself in a huge mirror and the signed Kevin Kegan photo on the wall. Those were the days of hair!

The wallpaper is from a sheet I found in a 1950s art folder.

I haven't written a text to accompany this box yet and that is the next part of the process.



SUNSET STUDIES by RUPERT MALLIN





Wednesday, March 25, 2015

APRIL 5TH GIG AT MILESTONES JAZZ CLUB - RED SHADOW QUARTET



RED SHADOW QUARTET AT MILESTONES JAZZ CLUB
This month’s concert at Milestones Jazz Club on Sunday 5 April features the return of one of the most original and thoughtful bands to emerge from the local jazz scene in recent years - Red Shadow Quartet.

Pianist Peter Hayes and bassist Dave Pullin formed Red Shadow Quartet in 2003 to combine the jagged influence and swing of Thelonious Monk, sophisticated harmonies of Herbie Hancock with contemplative grooves and vigorous improvisation.
 

The quartet's repertoire also embraces the music of Duke Ellington, Charlie Parker, Steve Swallow and Sam Rivers

The result is fresh, accessible jazz for anyone who appreciates ear-catching melodies and interesting forms.

As musicians firmly in the tradition of 1950's and 60's Blue Note jazz, the band take their name from two significant but under-appreciated musicians of that era: Red Garland, pianist with The Miles Davis Quintet and Shadow Wilson, drummer with Thelonious Monk.

The band's members are all respected musicians on the East Anglian music scene and, although rooted in the jazz tradition, also bring a wealth of experience from over 40 years of playing pop, rock, blues, Latin, African and big band music.

Red Shadow Quartet has regularly performed at concert halls, theatres and venues throughout East Anglia and this is their first concert at Milestones Jazz Club since 2009.

This concert will feature original songs from their CDs, ‘Turning Point’ and 'Pine', along with a number of brand new compositions and specially arranged jazz standards.

The band’s full line-up features Trevor Rowland (tenor/soprano sax), Peter Hayes (piano), Dave Pullin (double bass) and Rob Masters (drums).
All ‘Milestones’ gigs are held on the first Sunday of every month and take place at Hotel Hatfield, Esplanade, Lowestoft with the doors opening at 8pm.

Admission - £7 / £6 (concession).

Thursday, March 19, 2015

I DON'T REMEMBER by RUPERT MALLIN



Richard Cawston was a sickly child I played with.
I don't remember stealing his toys and burying them in the garden.


I don't remember my father digging holes to bury our cats.


I remember Old Mrs Streeter's small house
and her black and white television - and its
stagecoach, dust and gun smoke.


Our cats were Domino and Socks.
They ate birds, frogs and mice before they were run over.


I remember Tina Frost bought me two rabbits for my
eighth birthday but I don't remember starving them.


My brother found an antler and a rusty flintlock rifle
in the hedgerow of Mr Gifford's Meadow.
I don't remember any curious connection
between rifle and antler.
I don't remember Mr Gifford.


I don't remember the toys I stole
but I do remember the first lawn mower my father bought
and the second mower shortly after the first.


I remember blackcurrants and gooseberries, apples and chickens, and the stagecoach and gun smoke.


I don't remember the arguments.
I don't know why my mother's rolls were as hard as her life.
I do remember school but try not to.
I remember the school's huge wooden rocking horse
and the whippings, dust and smoke.


I don't remember you.


I remember the first television my father bought.
We watched Sir Winston Churchill's long funeral
and my father bet me a wrestling match
if Churchill's coffin fell and his body rolled into the Thames.


There was no match and I never saw the stagecoach again.


I don't remember when colour arrived
or when Richard Cawston was moved away.


Colour came.
And I bet Richard's brightly painted tin cowboy
Still waits beneath the lawn to draw his guns again.





Tuesday, March 17, 2015

WHERE ARE YOU FROM? by RUPERT MALLIN

I am from Marmite and cracks in the playroom floor
     filled with flour paste.
I am from apple blossom and a Victorian school
     and a heavy tiled kitchen table.
I am of the 1960s.
I am moonwalking from muesli and dog eared
     exercise books, from Suffolk, from Egypt.
I am from these parts
     and those stars.
I am from a time when we feared sleep
     and Chiltern Brook.
I fear you now.
I am from the priory and an au pair weeping
     by the River Stour.
I am from Egypt and swallowed dust
     on the Spanish Steps.
I am from the land and followed the plough
     into a storm of wasps.
I am much louder now.
I came from your wet whispers among the hot evening
     bails over the stream in Egypt
     when the jets flew in.
I am from a secret notebook passed between children
     at the back of the maths room in 1967.
I am from the plasticine playroom.
I am from a plastic infantry.
I am from the Battle of The Little Big Room.
I am from a caged linnet
     and the whitest fantail doves.
I am from death.
I am from the sweetest summer in Suffolk,
     the day of the massacre.
I am from a fringed bag I kept my tobacco tin in.
I am from two pairs of flared jeans.
I am from the winter of 1962
     and the storm of 1987.
I am from London and Leicester and the YMCA
     on London Road,
     on the road to Damascus.

Thursday, March 12, 2015

HOW TO TACKLE THE UNSEEN EXAM POEM by RUPERT MALLIN

Before everything, take your pulse.

Annotate the poem if you wish,
Then turn the poem upside down.
Draw a house around the poem.

How many floors does your poem have?
How many windows? Is there guttering?
Is there a chimney?
Can you find the door?

Turn your house upside down.

Does your poem look like a boat?

Circle a metaphor, if you find one,
And draw down an anchor from this bubble.

Is your boat swaying in a sea of similes
And alliteration?

Are the occupants drowning?
How's your pulse?

Before you leave
Smash as many windows as you wish.

 

Wednesday, March 11, 2015

KENNETH KOCH, A REDISCOVERED POEM

Poet Martin Stannard has sent me an interesting link to a re-discovered Kenneth Koch poem

An article about the poem and a Koch letter are to be found on the Poetry Foundation website.

Kenneth Koch 1925-2002 mastered the long conversational poem and has given me a lift having just had to teach GCSE poetry where I find most of the loved contemporary poems (many by Simon Armitage) are the weakest.

It has much to do with concepts of Modernism and post-modernism - a huge arena of a subject - but one I will take on here at some point.......
 

Friday, February 27, 2015

ART IN BOXES: THE LAST TRAIN by RUPERT MALLIN



Waiting for the last train. But what if the last train had been the last train?

Here are some new art boxes I've been working on.

ART IN BOXES:ON ICE A LONG, LONG TIME



He was so rich that every bone and sinew of his being had been frozen to be born again through science...

The champagne was on ice for a very, very, very long time.

ART IN BOXES: WELCOME TO MIDSOMER

 
 
A broken window, a body, an isolated building, onlookers and some inquisitive pigs. Welcome to Midsomer.
 


ART IN BOXES: REAL LOVE by RUPERT MALLIN



Real Love

ART IN BOXES: THE POWER OF MUSIC



They had seen the film, now they set forth to change the World with music and trained animals...

Wednesday, February 18, 2015

MILESTONES GIG MARCH 1st FEATURES MASTER GUITARISTS



MASTER GUITARISTS BRING AN EXOTIC AND EXCITING MIX TO MILESTONES JAZZ CLUB

This month’s concert at Milestones Jazz Club on Sunday 1 March features two of the UK's finest jazz guitarists playing an exotic mix of exciting and accessible contemporary jazz – Pete Oxley & Nicolas Meier.

Guitarists Pete Oxley and Swiss born Nicolas Meier take the varied influences of John McLaughlin, Pat Metheny, Chick Corea, Flamenco and Middle Eastern music to create a deeply beautiful and personal take on contemporary jazz.
 

Since his last appearance at Milestones in 2011, Nicolas has joined the band of legendary guitarist Jeff Beck and will be setting out on another tour of the US with Beck in the summer.

The duo with Oxley is a dynamic unit, playing original compositions and jazz standards with a sustained technical virtuosity that also packs a heavy emotional punch.

Their individual sounds are rooted in a love of playing jazz on electric and acoustic guitars, allowing them to fuse many diverse influences into an exciting and coherent whole.

As well as the conventional guitar, Nicolas also plays a glissentar, a cross between an acoustic guitar and the oud, an Arabic stringed instrument.

Pete graduated from the Leeds Jazz College and Nicolas earned a scholarship to Berklee Music College in Boston, USA.

Both Pete and Nicolas have established themselves as respected players on the the vibrant UK jazz scene, touring extensively in Europe, sharing the bill with the likes of Elvin Jones, Brad Meldau and Trilok Gurtu and working with Nigel Kennedy, Jeff Beck, Harry Beckett, Dave O'Higgins, John Etheridge and Gilad Aztmon.

In 2006 Nicolas won the prestigious Grand Prize Of The Jury and 1st Prize Jazz Guitar at the legendary Jazz A Juan Festival Jazz.


This is a concert not to be missed.

All Milestones gigs are held on the first Sunday of every month and take place at Hotel Hatfield, Esplanade, Lowestoft with the doors opening at 8pm.

Admission - £7 / £6 (concession).
 

 
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Monday, February 16, 2015

MAKING ART IN A SMALL SPACE

My situation and surrounds have always dictated the scale of my work. However, I've always preferred smaller works, particularly 3D works. For me, scale is all about human interaction, not with a space or in relation to a mass but eyeball to eyeball. Also, an illusion of scale is more involving than some giant object getting in the way of one's eyes.

My situation is also dictated by economics and collecting materials and equipment from car boot sales introduces that first random encounter. I stockpile so many objects - together with watercolour blocks, brushes, reams of type paper, quill pens, print rollers, printing blocks and so much more.

I say "brushes" as I collect items that might challenge the notion of "a brush" - in order to challenge the textures of paint as it is applied. This is my second random encounter as I put the artist's brush aside and find a piece of wire wool in its place.

Of course, I use the word random falsely because it is from an element of chaos I make my decisions. Random elements provide that initial stimulus.

I presently have over 50 large boxes full of equipment, materials and objects, and this storage space is beginning to impede on my working space. Perhaps my works will get smaller and smaller?

They could certainly make a CBS or Channel 4 documentary - the Art Hoarders.

Perhaps it's time I thought about getting a studio?