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MIN ANGEL Summary Overall MIN ANGEL Summary Overall - General sense of moving practice forward, positive direction for most, more direct painting language on a non-high art, disposable ‘punk’ support, personal and universal themes of life/death and memories. Allegorical and spiritual references. Humorous, tender, sad, unsettling, intriguing, immediacy. An exploration of image relationships within the composition and in relation to the configurations of the support and the conversations the support introduces in painting materially and thematically in particular in terms of time and space. The ‘reveal’ of the box. Handing paint with authority and fluidly, ‘treating the paint as a new guest at the table’, forthright, painterly, graphic, illustrative. Good colour. Relationship of the three images. Reflecting on ways forward - Continue with cardboard, use the cardboard colour, build up from photos, directness of paint application, reconsider the dreamy, embrace drawing/ illustrative/graphic qualities. Consider compositions, explore single image paintings of the portraits hung close together, limit palette. Build up from photographic references. Draw more. Comments: Marcus Big changes! The card board is working very well, it seems to invite so much more in. This is early days to analyse the paintings in any depth or indeed the composition and painting so just enjoy letting the work emerge. Having said that........ I detect that these are about family and the source material is family photos. I love the male figure in the suit! The Dean Martinish figure. There is tons of good colour in this painting , the modelling in loose greys on the pink ground with cardboard fringes showing. This limited range really works well and has something of the nostalgia of old photos without being too restricted to monochrome. Try and stay in this vein. Use the colour of the card board as a colour and allow it to help limit your palette. Whilst a lot of the time I would encourage painters to over load a painting and edit back, in the instance of the man and the boy on the lion, because they are not involved in an ‘overlapping’ narrative that makes much sense I would make separate paintings of them and hang them in close proximity. The tenderness and pride with which they are painted will be most telling. Rather than copying the photo, use the photo to help make a portraits of these figures. I like the more forthright treatment of the man/boy/lion painting and would try use this treatment over the dreamier treatment in the other 2 pics. Congratulations Phil There has been a direct effort to move something on and so it’ll be interesting to think what that may be and where it wants to go. The first important thing is that two of the paintings are done on cardboard and so this already points towards the type of search being undertaken here– one that doesn’t want to be hindered by its container or the stifling qualities painting on canvas can have. The painter want access to something that its manifestation may be hindered too much by the protocol of painting. Going by the titles and images these paintings appear to re imagine the patriarchal figure and place them ‘central’ in the painting and in one’s mind. As I look at the paintings more, I become intrigued about the relationship between the adult, the child, and the lion. The adult figure has a particular historical feel to him (suit, hair cut demure) and of course it’s painted in the monochromes of a faded black and white photo. There is a hint of allegory in all of this. Lucy All three images have an immediacy and spareness which I’m really enjoying. Life and death seems to be in the air… Love that you haven’t cut down the boxes in images one and three. Like the roughness and shapes on the edges, but also the effect that somehow the images have been revealed from the inside of the box, like a metaphor for our thoughts/feelings being revealed through the act of painting… You could play with the box as an object - painting the outsides as well and semi closing the boxes up again so the viewer has to peer inside? That’s not to suggest they necessarily need that intervention but I can imagine you enjoying the making aspect of that approach. Image one says ages of man to me. Interestingly although the head in the bottom left corner looks like an old man - it’s position places it in the role of a baby and as we know, all newborn babies look like old men… Not sure that was your intention but it made me smile nonetheless! Although the man baby made me smile, the journey around the painting as a whole leaves me feeling a little sad. I start from the expectant grumpy man baby, then my eyes jump to the joyful looking boy, then to the slightly louche looking man in the suit, and then to the grumpy looking old man slumped in his chair. It is not a painting that fills me with hope, but that is not a criticism! Reading that back to myself I notice I didn’t mention the lion but that’s not because he seems superfluous, his place feels important both metaphorically and compositionally. Image two feels more traditional in technique, approach and composition but still has a light painterly touch. I’m picking up symbolism - ebbing strength with the lion placed in the background and the reaching angel depicting another realm… Is the angel coming for the old man? Yet he has good colour in his cheeks and a determined look in his jaw… is that an intentional nod to healthiness and resistance? Again the old man in image three has a baby like quality to him - is that an innocent wonder or fear I'm reading as he stares at the cherub? Is he holding it at arms length because he is trying to get a better look or is he keeping the cherubs outstretched arms at bay? Lots to look at and lots of food for thought! Tony In this work you have obviously tried to give a different way of thinking a shot . Gone is the pressure to make the paint interesting . Particularly in the first painting ( Misters Angel) the source is at it’s most undisguised . The paint has a utilitarian quality that is NO BAD THING . Ironically it seems to me that when paint is used solely to describe it is most likely time when the paints true qualities will come to the fore . It’s as if you treat the paint as a new guest at the table . Let it do its thing . The cardboard support aids this as well . It absorbs paint unevenly which adds depth, interest and air. It also removes wannabe grandeur which we have spoken about a lot and remains something we should all be fighting . I also really like the grey of the photograph in dialogue with the colour segments . It gives the feeling of to and fro ness, of receding and emerging that holds the true sensation of memory . If you decide to proceed on the path that this painting suggests , I strongly feel you will be closer to relief, release and decisiveness. Caroline What an intriguing set of images. ‘Misters Angel’, central figures of a man in suit smoking and boy on Doigesque lion, profile of a more sketchily outlined man looking up at him, looking back on snatched moments of his life? The central figures with the use of chiaroscuro as well as them looking directly out at us the viewer suggest they are painted from photographs. This makes me think of the function of photography in recording a life, as an aid to recalling memory and its role in holding onto that memory after a person has gone. The disconnected separate figure in the top left hand corner suggests a physical and mental distance from his younger life. What is the significance of the use of cardboard, throw away and everyday? Or is it just what you had to hand during lockdown? The angel and lion in the second painting again suggesting the symbolism of strength and faith/hope or the angel of death? The same sketchy almost cartoon like figure appears again in the final painting. The old man upholding the baby offers an interesting play on religious iconography. These are very powerful and urgent images which I am sure relate to your father as you talked about in your last crit. There is a muscular intent in your need to communicate about the importance of this person’s life. Yvette This feels like a virtuoso performance that you’ve chosen to act out on very disposable surfaces, two broken down cardboard boxes with a canvas in the middle of it all. There is something so incredibly punk about that approach and it’s fantastic to see you really bring that energy you have inside you to the fore. Misters Angel,2020,Acrylic and charcoal on cardboard, 158 x 229 cm There’s swagger here. There are characters on stage and an onlooker both in the foreground and background. It feels like an exploration of both memory and current experience. There is something confrontational about the relationship with the viewer, like pistols might be drawn but we’re waiting to see who is going to make the first move. The stage is floodlit casting dark shadows falling in opposite directions. The young boy and lion look friendly and open, but there is an overall feeling that tells you to tread carefully.
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