Childhood brain imprints

I have hundreds: the kitchen of our Muswell Hill flat and its old green enamel gas stove, the purple bathroom walls, the interior of the local greengrocer's, the walk to school; garden marigolds and hollyhocks, Mum's ancient piano covered with piles of music, her hoards of newspapers and books, amongst which were her small volumes of Gerard Hoffnung's wonderful musical cartoons.

   

 

I must have thumbed through these hundreds of time, my gaze resting on a few of my very favourites, such as the ones above. I was always drawing but mainly animals, objects and fantastical creations, but I think the essence of Hoffnung must have sunk in as in more recent years I've started sketching people, not very accurately but rapidly, trying to catch within a few lines a character, a facial expression, crossed legs, hunched or attentively upright. 

Often the drawings don't really capture what I am witnessing but occasionally they do. I was pleased with this one of three musician friends in Mark's gamelan group. It was only about a minute and a half but I think it borrowed that moment in time - their distinctive respective hair cuts - or not - beards; the bell like musical sounds, and the intense heat of that afternoon under shady trees in the garden of the Max Ernst museum a few kilometres from where we live.

Absorbing the past

My current series of paintings are all based on sketches done from train windows on London train journeys. I've been using the timed sketch idea for some years but decided to restrict the journeys to London as it's my main inspiration place for current and future writing ideas. As well as journeys the sketches can be from a static place - café windows a favourite, or a brief standing/crouching sketch if I have been captivated on a walk by a particular cluster of buildings, trees, etc.

As I mentioned before on this blog, I stopped painting for some time as I felt disturbed at having to purchase plastic (acrylic) paint in plastic tubes, and buying wood specifically to then cover it in paint. Having now decided to only buy 'second hand' paint from online sites such as gumtree/Vinted et al, and only using found wood or old pictures bought in recycling emporiums, I feel this to be ok, or as near as ok as possible until I perhaps make a sortie into using earth pigments and fallen trees.

The picture below is an extraordinary example of 50s/60s factory paintings (I assume); where someone has been trained to dab and smear, creating a homogenised version of a landscape, in this case one I find extremely eerie. It cost four euro in the many-times-on-this-blog-mentioned Emmaus, so someone rid themselves of something rather worrying, Emmaus made a bit, and I get a large and cheap canvas to work on - with some unready interesting textures which will work well with my next sketch - that of Greenwich and the dome structure, the two minute's limitation making some interesting swoops and lines.

I hope the previous painter - or their ghost won't mind be borrowing the surface; I find it interesting to absorb someone's forgotten brushstrokes into a new image. Would they have had a cooling mug of tea on their work station as I will no doubt have? and similar worries, fantasies, music or blankness running through their mind as they had worked.