Poetry review – Wordstrokes

Wordstrokes coverActually, I have a confession – this is partly a review, partly just me tooting my own trumpet, because I have four poems in this anthology. Tooo-ti-tooo!

Published by Avalanche Books and edited by the keen-eyed and astute Deborah Gaye, Wordstrokes: The Poetry of Art reveals how different creative mediums can energise one another. In this case, every piece of writing featured has been prompted by paintings, sculptures and art museums, with the result that the crisply printed black text on white seethes with colour.

As a passionate advocate of bringing different expressive forms together, I found this assortment of poems (and a single work of prose) to be a page-based equivalent of visiting a gallery, only the images appear inside your head, generated by the words as you read them.

Among the most moving examples are Bird of the Sea by Susan Taylor, after a carving by Bridget McCrum, which opens with the elegant stanza: “remember/ her like /the font /that was leaking/ the water/ that held/ first flight”.

There isn’t a single dull note in the anthology. Other highlights include In Response To The Sea by Sarah Miller (prompted by Emil Nolde), which is a sultry poem that zings with flavour: “We talked sweetness/ until the wind took it/ sucked what was left/ of the fading orange sun”.

Likewise, Stitching Twilight by Kay Lee (inspired by Paul Klee) is richly layered with colour and texture: “This could be a new embroidery,/ one you made from a grandson’s drawing –/ see the bird, its beak open/ to drink in the last of the daylight.”

Deborah has arranged the assortment of works to build up impressions of thoughtfully curated rooms, where each piece subtly elevates its neighbours. Moods spill into one another, while narratives gain momentum, and more abstract creations present the impression of an endlessly shifting, shimmering ocean.

Inspirations are wonderfully varied, but include Edward Hopper, Millais, Paula Rego, David Hockney, Frida Kahlo, Kandinsky, even Yoko Ono, as well as a raft of lesser known but equally emotive painters, sculptors and makers.

My four pieces are Tea (inspired by Ai Weiwei), More Water Than Land (inspired by an untitled abstract painting by Katy Webster), Last Night I Dreamt (prompted by the sculptures of Paul Smith) and This Gallery, inspired by a host of visual artists.

To get your hands on a copy of Wordstrokes: The Poetry of Art, head down to your local bookshop (Waterstones will do, or any other with friendly, intelligent inhabitants), and ask nicely for them to order it in. The ISBN number is 978 1 874392 26 2. They should be happy to oblige. Alternatively, click here to buy it from Amazon.

What are you reading? I’d love to know. I’m always happy to receive reviews of books, art, theatre and film. To submit or suggest a book review, please send an email to Judy(at)socketcreative.com.

The fizz and sparkle of Alce Harfield’s art

Colour Calypso by Alce Harfield

Colour Calypso by Alce Harfield

From her trademark busy blooms to vivid cityscapes to roiling seas and skies, Alce Harfield’s paintings fizz with energy, and offer a gloriously colour-saturated view of the world.

She says she had little choice about becoming an artist. “It was in my genes with my mum being Head of Art and my dad being a professional photographer!” she exclaims.

Peony Passions by Alce Harfield

Peony Passions by Alce Harfield

Following guidance from her parents, Alce completed a degree in Commercial Interior Design at Leicester poly “in order to get a ‘proper ‘job.’” However, during her finals, Alce started painting professionally, and that changed everything.

“I realised that was what I’d always wanted to do, then after two years working as an Interior Designer in Bristol, I took the plunge following redundancy and opened my first shop.”

Two years after launching The Silly Fish Shop in Bristol. Alce opened a second shop in Bath and went from strength to strength “selling my paintings and three dimensional plaster wall hangings.”

It seems that even, or perhaps especially, on the greyest British days, we’re drawn to seek out colour and light, and Alce’s creations meet that need perfectly.

The vibrancy of Alce’s artwork comes naturally. “I’m a happy person, so colour was always going to be my thing,” she says. “It gives me massive pleasure to use colour so I thought my customers might feel the same way too!”

It’s clear that they do as a whole page of Alce’s website is dedicated to ‘satisfied customers’, proving that happiness can be contagious!

It’s also evident simply through gazing at Alce’s paintings that they’re immensely cheerful things to be around, with splashes of scarlet, green and blue offering plenty of levity.

“I keep a scrapbook of photos and cuttings, plus sketches of everything that inspires me, from a beautiful landscapes to a colour combination,” Alce says of her working methods. “That is my inspirational bible – crucial if I’m having a blank moment!”

Her early training, as well as the examples set by her parents, taught Alce the importance of a good work method too. “I’ve always been hard working,” she comments. “My dad was self employed all his life and I’ve learnt his values of hard work equalling success. Plus, who wouldn’t want to splash paint on a canvas all day? It’s the best job in the world!”

Alce’s verve for life is enviable, and shines through in each canvas she covers. How could you not want a piece of that in your home?

There’s plenty to enjoy about being an artist, she says. “I set my own rules (it helps that I’m a control freak and incredibly driven). I can take time off for my kids when I need to and I can also work late as my studio is in the garden. I’m in complete control of my life and if I fail it’s my fault, but if I succeed it’s also down to me! That’s very empowering.”

Last One to the Pub by Alce Harfield

Last One to the Pub by Alce Harfield

Alce’s overflowing energy serves her in more practical ways too, as she travels the UK from Edinburgh to Windsor, and Manchester to Dartmouth, selling her work at art fairs and other shows, “including 25 years of trading at Glastonbury Festival!” She also has a stall at The Tobacco Factory market in Bristol during the winter months “when there aren’t so many shows.”

For further information and to see more of Alce’s paintings, visit www.alceharfield.com.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judydarley (at) iCloud.com. I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.

Book review – Songs Without Music by Tim Stevenson

Songs Without Music coverAuthor Tim Stevenson is a master of the final line, turning a tale on its head with a few carefully chosen words. Throughout his collection of “flash-fictions and curiosities” (what an enticing sub-head!), in just a single page or so Tim creates worlds that feel like close parallels to our own, where our own fate, and how to avoid (or embrace) it, is shown up in eerie technicolour. Human nature is spotlit and dissected, not only in the tales themselves, but through toying unsettlingly with our preconceptions, so that we’re caught off-step without even realising we’ve been led astray, as in Feral Oxide and in An Artist’s Impression.

I’m not a great devourer of sci-fi, but literary thought-provoking futuristic tales please me as much as any well-wrought fairytale, and Stevenson is particularly adept at these. Mother’s Milk is gorgeously chilling, ending with a satisfying pinch of justice, while The Mr Jones Emulator raises questions about what it is to be a person, while remaining a soothingly jolly read.

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Waves, harbours and hills

Beach at Es Trenc, Mallorca by Paul Needles

Beach at Es Trenc, Mallorca by Paul Needles

I initially met Paul Needles when I was a teenager taking GCSE Art and fairly unaware that he had a first name, let alone that he had a thriving practice as an artist beyond the secondary school classroom where he taught. Paintings of oceans, fields and harbours capture the tranquility of the English countryside and Spanish coastlines, and offer evidence that teachers do in fact have lives beyond the schoolyard gates.

“I’m unsure how my interest in art first developed,” he says. “I came from a strong and supportive working class background. Both of my parents needed to work and neither were especially interested in the visual arts although my father was a very accomplished musician, playing a variety of brass instruments.”

Paul was fortunate enough to pass the 11-plus and attended Cotham Grammar School in Bristol “where art was pretty low on the curriculum. We did however have a very inspirational and slightly eccentric art teacher called Gerry Hicks.”

Mr Hicks had a significant impact on young Paul. “He was a well known character on the Bristol arts scene and was also a keen environmental activist at a time when the environment was low on the agenda,” Paul comments. “Gerry was a great inspiration to me. He and his family became great friends and were very supportive when I decided I wanted to follow him into teaching. Sadly, Gerry died last year but I still keep in touch with his wife and family.”

Having such an inspirational art teacher influenced Paul’s career choices. “I guess that I wanted to give kids the experience that he had given me. After all, nobody forgets a good teacher, do they?”

Bristol harbourside by Paul Needles

Bristol Harbourside by Paul Needles

After Paul completed his teacher training he started his career in Kent where he worked for five years before returning to South Bristol. “I taught there for 18 years before moving to Thornbury, staying for just over 15 years.”

Paul had always believed strongly that teachers should be practitioners of their subjects. “I always managed to find time to produce my own art work,” he says. “Some periods were rather lean but I made sure that I kept my hand in throughout my career.”

Then, around 15 years ago, Paul was encouraged by another former teacher and lecturer, John Stopps, to show his work at a gallery in Bristol. “I have done so every couple of years since then. I’ve also shown at Thornbury Arts Festival as well as the Octagon Gallery at the Castle School.”

Mendip stile by Paul Needles

Mendip Stile by Paul Needles

Paul spent his early years painting portraits but his focus shifted gradually towards landscapes. “I love Britain and the West Country in particular,” he says. “The Forest of Dean is a favourite and much loved haunt, as is Bristol itself. I also travel a great deal in Spain and am really inspired by the Spanish landscape with its wide variety of environments.”

Paul retired in 2006 at the age of 60. “I still loved teaching but didn’t want to become one of those sad old teachers who were out of touch with the pupils and decided, after teaching for almost 39 years, my time was up,” he says. “I had a great team of young teachers at Castle School and felt confident that they would carry on where I left off.”

With his teaching years behind him, Paul is busy creating his own artwork rather than guiding other people’s. “I built a large studio at the end of my long garden a couple of years back,” he says. “It means that I can be as untidy as I want and can leave my work out. My former studio was much smaller and is now used as a workroom by my wife.”

Paul is now lucky enough to paint every day. “I enjoy the solitude of working with only with the radio or my CD player for company,” he says. “I can easily get lost in my own thoughts as I work.”

Paul’s already has an exhibition planned for next year, taking place at the Guild Gallery on Park Street in Bristol from 12th August – 2nd September 2017. In the meantime, find more of his work at paulneedles.com.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judydarley (at) iCloud.com. I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.

Exploring starfields with Sarah Duncan

White Noise by Sarah Duncan

White Noise by Sarah Duncan

The skies above are full of beauty, wonderment and mystery. For artist Sarah Duncan, the big secrets are not what they show us of the universe, but what they help us to perceive about ourselves.

“Throughout history, the night sky had been a screen for our projected dreams. My work seeks to reflect this screen, and to find others to illuminate,” Sarah says, stealing lines from her website blurb. “I’m inspired by our relationships with the remote and inaccessible, seen via telescopes and microscopes. We’re fascinated by phenomena, which appear on the surface to be constant, but on further inspection reveal themselves to be unique, constantly in flux and ever changing.”

Sarah has “always made things and created pictures, there was obviously a time when I had to work out how I was going to make a career out of my artwork.” The answer came in the form of a BA in Textiles and Print, followed by an MA in multidisciplinary printmaking.

“My practice aims to embed the humanly experienced physical world into the unimaginable enormity of the cosmos,” Sarah says, explaining that in a philosophical sense her art “shares the central aims of science” in trying to understand the marvels of nature and the physical laws that guide them.

Neutrino by Sarah Duncan

Neutrino by Sarah Duncan

Taking a step sideways and beyond a straightforward scientific gaze, Sarah also brings into the puzzle a focus on our “emotional and embodied response rather than just an intellectual one.”

I love the idea of Sarah’s portrayal of astral spectacles being laid out with all the questions and curiosities that define us as a sentient species.

Doppler Effect by Sarah Duncan

Doppler Effect by Sarah Duncan

“I think being an artist is part of who I am; it has grown with me, and I have developed as an artist alongside growing as a person, says Sarah. “I love that my practice means that every day is different; that a final piece could have taken many mistakes, multiple rejects, and a lot of learning to arrive at the end result.”

Intrigued? You can discover more about Sarah and her art at print.sarahduncan.net, and at www.instagram.com/sarahduncanprint. “I currently work at Spike Print Studio in Bristol and often exhibit with them, and have also got work at the Gas Gallery in London and Cambridge Contemporary Arts,  as well as forthcoming at The Printroom in Suffolk and Zillah Bell Gallery, in Thirsk, North Yorkshire.”

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judydarley (at) iCloud.com. I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.

Book review – The End

The End coverWe’re often told to begin at the beginning, but in art, as in literature or film, sometimes it’s far more interesting to begin at the end, or, at least, the beginning of the end.

So it is with this upcoming anthology, The End, from the adroit Unthank Books, commissioned by Ashley Stokes, for which authors were invited to respond to the artwork of Nicholas Ruston. Each painting itself uses the words The End, imprinted on shadowy backgrounds that offer the sense of a narrative drawing the close.

With a subhead of Fifteen Endings to Fifteen Paintings, you know you’re not in for the sunniest of rides, but with contributors ranging from Tania Hershman to David Rose and u.v.ray, you’ll want to hold on tight, right till the actual end.

The variety is wonderful. Each story examines a different image, veering off in dazzlingly unexpected directions. Yes, there are deaths, but also near misses, recoveries and quiet moments of realisation.

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Seeds of art

Hyacinth watercolour by Gill Martin

Hyacinth watercolour by Gill Martin

“I don’t consider myself particularly creative, more as a recorder of natural things so that the viewer sees them afresh but also to give them a place,” says botanical artist Gill Martin.

Gill sees nature as a direct connection to art, and vice versa. “Art makes me really look at things and appreciate their beauty; I love that I can just be walking down a street and find a leaf or twig or something else that just makes me feel I want to draw it.”

Almond by Gill Martin

Almond by Gill Martin

It’s a symbiotic process than began early on in her life. “I drew and painted from a very young age and did Art A-Level along with Sciences, which led me down the path of a career in dentistry; the drawings I did at school were always close observational, usually in pen and ink.”

Throughout her time working as a dentist, Gill’s artwork was, in reaction to this “very concise occupation” far more abstract than it is today. “I produced large pieces, stained glass and printmaking – it was almost like an antidote to the dentistry,” she comments. “After I retired from my profession I decided to do a long distance four-year distance learning with the Society of Botanical Artists and felt very much back with my natural inclinations.”

In particular she finds herself attracted by unusual shapes and forms. “Although during the course I had to do many flowery subjects, I have found that I am more interested in subjects such as individual leaves.”

Examples of this include an intricate drawing of a seedpod completed while in Australia for her son’s wedding.

“The course assignment was fruit, but all the fruit I looked at seemed very boring. Then I realised that the fruits of various trees were far more interesting! I think that I really like looking at the ground, or other places where perhaps things crop up unexpectedly.”

Australian Seedpods by Gill Martin

Australian Seedpods by Gill Martin

Using watercolours, coloured pencils and graphite pencil, Gill’s beautifully precise art has been exhibited in London, at Bristol Botanic Garden and in the BV Studios where she carries out much of her work.

She relishes the ability to show people the natural world in a fresh way by focusing in detail on small, easily overlooked elements. “I love the achievement of highlighting something that most people wouldn’t notice; nothing gives me greater pleasure than to find a fallen leaf amongst many others and then making a beautiful drawing or painting of it so viewers think, Wow, look at that leaf!”

Find Gill and her work at www.gillmartinillustration.co.uk.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judydarley (at) iCloud.com. I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.

Stories shared on the #FlashWalk

Cormorant cr Judy DarleyDuring the #FlashWalk on National Flash Fiction Day, ten fantastic flash fictions were shared, all inspired by Bristol Harbour and the surrounding area.

Several have already been published elsewhere, but here is an exclusive opportunity to read four thought-provoking and wonderful tales.

Harbouring Friendship by Diane Tatlock 

I walk with Mother along the harbour side. Calm. Quiet. Galleons stand tall above us.

I see him then. The boy. Men standing round him. Holding him.

I walk with Mother. Slowly. Her skirts swish the cobbles. Her bonnet nods. Her parasol shields us from the bright sun.

I watch. Sloshing water slops over him. Showers his dark skin. He stands. Still. They plunge the bucket again. And again. Chuck the water. Hard. He stands. Still.

Mother clutches my hand and I walk on. She still nods to friends. Smiling. I look back.

They drag his dripping body across the wooden deck. Towards that gaping square. They tip him. Trip him. Let him go. His wet, brown body disappears into the black hole.

Mother pulls me on. Shows me a shiny penny for a bun.

I wonder who he is. What he has done. Where he will go. If he will be raised from that darkness in another harbour. If he will see the sun again.

He could have been my friend.

Johnny Pencloud by Juliet Hagan, read by Jo Butler

Johnny Pencloud by Juliet Hagan, read by Jo Butler

Johnny Pencloud by Juliet Hagan

You, young man! You look strong, and capable enough of hauling a rope or scrubbing a deck. Best keep an eye on who’s behind you, or you may not see home again. The ‘press men are about, you understand. To beat the tyrant Bonaparte, they have the power to seize any man, any man at all, and press him on to the King’s ships.

They took my husband, Johnny Pencloud, fifteen years ago. A fine man he was, eyes as blue as a summer evening, broad shouldered, and hair as black as the coal he used to mine. Mind you, it’s prob’ly grey now.

The morning after our wedding, it were. We lay in our warm bed as the sun shone through the window, and listened to the sounds of the people in the street below.

‘Hot coffee! Fresh rolls!’ shouted a hawker. Johnny’s stomach rumbled. ‘I need some of that,’ he said, grinning. ‘Stay there and don’t move ‘til I gets back.’ He kissed me, put on his trousers and shirt, grabbed a pewter jug, and left. I waited till noon, and sunset, and all through the night, but he never came back. The press men were out on the street, you see.

How could I go back home without him? So I stayed, doing what I could to pay my way, and I comes down here whenever I can, asking for news about him. I come even on the day our babe was born. And on the day she died, too. So, have you heard of Johnny Pencloud?

Your Name is Pero Jones by Ingrid Jendrzejewski, read by Tom Parker

Your Name is Pero Jones by Ingrid Jendrzejewski, read by Tom Parker

Your Name is Pero Jones by Ingrid Jendrzejewski

Nothing is known of you until your twelfth year, when you were purchased by a sugar merchant. You worked on John Pinney’s plantation in the West Indies for 19 years, then accompanied him to Bristol as his personal servant. You had two sisters. You were trained as a barber. You knew how to pull teeth. You visited the West Indies twice after settling in England; after the second visit, it is said you took to drink. You served the Pinney family for 32 years in all, then died around age 45.

Then, you slept.  Nothing is known of you for the next 201 years.  We don’t know where you went, what you dreamt, what has wakened you, but we do know that when you came back to Bristol, something had changed.

Now, you are larger than life. You span the floating harbour. You are raised and lowered by a hydraulic piston. You have grown horns.

And we wonder: for what have you returned? How long will you suffer the footfall of living men? Are you still bound by the grasp of the River Frome, or will you someday free yourself from the line of the river still known today as St Augustine’s reach?

Jo Butler reading A Thousand Words by Gemma Govier

Jo Butler reading A Thousand Words by Gemma Govier

A Thousand Words by Gemma Govier

With her stiletto jammed in the cobbles, she tried to perfect the laidback office worker look, munching on her panini whilst leaning against the stone pillar.  Nobody had warned her about the cobbles and she was wishing she had trusted her instinct to wear flats on her first day.

At the business park, lunch used to be powdery soup in the corner of the canteen, trying to look interested in a magazine while avoiding eye contact with everyone, especially the creepy Mr Summers. Now she had fresh air, seagulls, cheerful crowds and pavement artists. Polishing off her lunch she gave one final twist of the heel and her shoe was freed. Dignity intact, she moved from the shadows into the sunlight and looked over the shoulder of the guy chalking.

It looked just like her hometown. It was her hometown. It was unmistakable with the castle in the background and the church spire just in front. She was about to ask him if he was from there too when she noticed he was working from a small photo.

It was of herself walking through the high street. Not herself now but herself ten years before, holding hands with her old flame, Matthew. It was next to another photo. She was at her local park on a swing as a child, laughing as her sister pushed. In the next, she was at her graduation.

The bass beat from the waterfront bar seemed to be pumping right through her body as she moved round to get a better look at the artist, frantically searching for some kind of familiarity. She must have gone to school with him, lived near him or something, she thought. He was at least twenty years older than herself with small dark eyes, unshaven and had receding hair. She had never seen him before.

As she tried to form the right words he turned to look directly at her and placed a finger on her lips. “A picture’s worth a thousand of them don’t you think?” he said.

Book review – White by Marie Darrieussecq

White by Marie Darrieussecq

Marie Darrieussecq’s novel White received its first print run in France in 2003, and is set in what was then the future, 2015. As a result there’s a curious sense of being in a recognisable but slightly adrift parallel world, where a manned rocket is on its way to Mars, and phone calls take the form of holograms. It’s not far out, but just enough to add to the sense of being elsewhere – on Earth but not quite as we know it. Very appropriate given the novel’s frozen landscape.

The story opens with our two protagonists, Peter Tomson and Edmée Blanco travelling to one of the most inhospitable and hazardous places on Earth – Antarctica. Each has a role to play in keeping their colleagues safe; telecommunications engineer Edmée by providing the sanity of a link to home, and heating engineer Peter by ensuring the generator that keeps them from freezing to death doesn’t quite give up the ghost.

Talking of ghosts, Darrieussecq has taken the concept of an omniscient voice and given it new life by having the story told by the ghosts who populated the whitest of white places, from Captain Robert Falcon Scott and his ill-fated team, to the ancient echoes of our planets earliest elements. As a result, it’s as though we’re eavesdropping on our romantic leads’ thoughts, dropping from one tangent to another, and always with the backdrop of whiteness, blankness, where the separation between ice, sea and sky is barely discernable.

Dreams slew into consciousness, seeming as significant as waking ponderings, and at times it isn’t entirely clear when an impulse is being acted on, or merely mulled over. It is as though Darrieussecq is drawing a line beneath contemplation and deed, stating that each of these has equal value, and equal insignificance, in the grand scale of things.

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Jamaican rhythms

II Treez in a Forest by Ebony G Patterson

II Treez in a Forest by Ebony G Patterson

Fancy feeling the heat this summer? Until 11th September 2016, Bristol’s RWA Galleries will be awash with Jamaican art, culture and politics thanks to a special exhibition.

Jamaican Pulse: Art and Politics from Jamaica and the Diaspora will showcase the diversity present in Jamaican art today and yesterday, with contemporary works exhibited alongside more historic pieces.

Artists featured include Ebony G Patterson, Andrea Chung, Kimani Beckford and Di-Andre Caprice Davis. Expect vivid colours amid works simmering with energy and emotion.

“While exploring the roots of modern Jamaican art and suggesting new links between past and present, the exhibition also explores the artwork through a political lens and considers how global attitudes to body, gender, religion, class and sexuality have impacted this small island nation.”

Find out more about the exhibition and connected happenings at www.rwa.org.uk/whats-on/exhibitions/2016/06/jamaican-pulse.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judydarley (at) iCloud.com. I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.