Abstract Collage and Assemblage

 Whilst the figurative work finds its roots in the altered books, the abstract collages reference some small reliefs I made at Shave Farm Artist Workshop. They were made from strips of hardboard which I used to apply my paint.  At the end of the day, I would paint the strips so that the mixed up colour wouldn’t go to waste. These were later arranged together to create a composition.

Shave Farm 1992

At the time, they seemed inconsequential but over the years I have kept them around, always hoping to find a way to take them further.  

Obvious Material 2016

This was the first fragment composition that I made and the relief pieces were in my mind.

Since then, I have made many more, but it wasn't until November last year that I decided to work directly from the original relief.

Shave Farm Remembered 2017

 I knew that I wanted to return to making assemblages but unlike those of 20 years ago constructed from the wooden pallets, I wanted them to be about colour. Throughout my career as an artist, I have always been fascinated by colour.  The earlier work was influenced by colour theory and the colour combinations I saw around me. Finding the plastic washed up on the beach in Wales gave me that opportunity.  Looking down at the beach I saw my palette of distressed surfaces and muted colour. 

Frame of Reference 2017

The first piece I made responded to the shapes and forms of the plastic.  The contrasting opaque and transparent surfaces, with the broken edges, are similar to torn and weathered paper.

Passage 2018

I had been working on this subject matter in collage but felt it was too literal.  I was trying to capture a fleeting glimpse of trains travelling over the viaduct, These fragmented coloured structures seemed to communicate what I was trying to achieve more effectively.

Field of Vision 2018

In the found plastic I collected I am intrigued by the moulded shapes and forms, displaying the traces of its previous life and how the motion of the sea has sanded and tarnished the surfaces. Due to the nature of the plastics, the pieces suggest the subject matter but maintain a level of ambiguity.

Lobster Pot and Other Plastics

It had been my intention to make a beach combing collection whilst on holiday at the Llyn Peninsula this summer as I’ve wanted to return to making assemblages as I did nearly 20 years ago. Even further back at Shave Farm in 1992 I made two small reliefs which I have always loved and these too were in the back of my mind.

Whilst in Wales I photographed a plastic lobster pot on Criccieth beach. One side of the lobster pot was ripped open and the netting was broken.   I liked that I could see through the netting and its sculptural qualities which reminded me of Tony Cragg's sculptures and drawings. I have also made a lot of work based  around a  lobster pot  fisherman who has featured in earlier work (these are two links that lead to previous posts about that work).  I left it on the beach, having too much else to carry that day, however, when I posted it on Instagram some people asked if I'd taken home.

The top part of the beach is covered in pieces of plastic, so much of it was washed up on the shore, Alan was horrified and environmentally so was I, but aesthetically I was in my element, the subdued colours  and the fact that the pieces were scratched and snarled reminded me of my collage pieces. I picked up some pieces and tried out some small arrangements back at the cottage.                          

I wanted to go  back before we left Wales and the this time I was prepared with plastic carrier bags to collect more pieces.  I also hoped that  the  lobster pot would still be there. 
                                                     
After a while Alan got fed up  and wanted to go, but at least I had managed to fill one of my bags with plastic. I was just about to leave when I spotted the lobster pot sitting at the edge of the sea.  

I brought it back home and for now it is sitting in the back garden.