Eagle eyes view the English capital

Red House, by Marc Gooderham

You could be forgiven for thinking that developers in London today have fetishised both height and a desire to build the oddest shapes possible, which then demand to be nicknamed.

Not everything created from such a base is bad. ‘The Gherkin’ remains an elegant addition to the City, while the Tate Modern extension is appropriate. But some are simply dire, with particularly dishonourable mentions for One Blackfriars – ‘The Vase’ – and 20 Fenchurch Street – ‘The Walkie-Talkie’. And let’s not mention the thrusting inelegance of ‘The Shard’.

Sadly, chunks of a more human-scale London are being torn away in the name of … well, in the name of corporate profits. Character replaced by a forest of largely characterless glass and steel.

In such times then, it is a particular pleasure to see an exhibition such as London Eye 2 at The Millinery Works in Islington.

Works by 15n artists are on display, all available to buy. The creative talents behind the works span generations and include Sir Peter Blake, the British pop artist still best known for his iconic Beatles Sgt Pepper album cover.

Camden Town Tube, by James McKinnon

Here there are a number of limited edition prints in his distinctive collage style and love of pop culture, including Piccadilly Circus, the Convention of Comic Book Characters, and River Thames, Regatta, with its nod toward a steampunk sensibility.

Several of the artists turn their gaze reflectively on a London that is fast disappearing; in some cases, derelict or covered in graffiti.

This is a large part of Marc Gooderham’s practice. Here, he has five works on display. Acrylic painting Waiting for You and Fill Your Heart (pastel on black paper) both convey a sense of the slightly shabby, while The Rio Cinema, Dalston and The Vogue Cinema (both pastels on black paper) convey dusk and night time scenes devoid of humanity, with a deep sense of loneliness.

Yet in The Red House (pastel on black paper), he also gives us a bright blue sky and a burst of glorious colour. Mounted and framed in black, this is a work that adds light to the room.

If the exhibition as a whole gives us a sense of London on a human scale, Marc is not the only artist whose work conveys a sense of loneliness. We can see it too in the deserted station of Camden Town Tube and the deserted street of Back Lane Hampstead, both by James MacKinnon.

Eric Rimmington’s Above Ground conveys the same sort of mood – and even his Lunchtime, with sunbathers sitting in isolation, has something of the same atmosphere.

Butler's Wharf, Shad Thames

Terry Scales’s Butler’s Wharf, Shad Thames features the striking bridges between wharf buildings near Tower Bridge – again, the absence of people lends a haunting quality.

Giles Winter’s works – four of which show residential streets at dusk, with corners of lit rooms visible, but nobody present, take us in the same direction.

Just one – The Noctambulist – has a solitary, hat-and-coated figure walking away from the viewer, almost out of the canvas, giving us something incredibly Hopperesque. His other work here, Bus Shelter, is an incredible take on rain in the city, brilliantly executed.

Peta Bridle’s etchings continue the decaying, lonely idea, So too, do Eleanor Crow’s human-devoid paintings, though the likes of Near London Fields, Early Afternoon (Deriocte Street, just south of London Fields) to Mornington Terrace, May Evening, 2018.

For me, two artists stand alone in presenting a different view: Nessie Ramm’s The Parakeets of Richmond Park celebrates the spread of ring-necked parakeets across the city, framing them in an antique Victorian frame, against a subdued background of all those towers. It’s clever and charming.

But personally, I admit taking a special delight in Melissa Scott-Miller’s work.

Islington Front Steps is so bright but spot on, and the same can be said of the fabulous Islington Back Gardens in a Heatwave (left). Both are glorious oils that will add light to any room in which they hang.

Back in the early 1970s, I lived in west London, in a fairly typical London town house.

As such, these works by Scott-Miller have a real resonance. They might not portray something I actually saw, but looking at them, I genuinely see something that I recognise.

All in all, this is a superb exhibition. Whether you can buy or not, I seriously recommend it.

Find out more at via @MillineryWorks.

London through three pairs of eyes

Marc Gooderham with The Ghost of Southwark Street

As the tail end of hurricane Gonzalo lashed Britain, I found myself near London’s Petticoat Lane and with time to burn, having turned up rather too early for the opening of a new exhibition.

Shelter from the intermittent downpours and whipping wind was available around a corner in The Bell – and if ever you wanted a simple illustration of how this part of the city has changed – and is changing – then here it was.

Just a decade ago, you’d have ventured inside with a certain caution.

Now, although the décor remains authentic, the crowd is rather more booted and suited than once it would have been, there are comfy sofas to relax in and, while the young lass at the bar is pierced and tattooed, she’s also perfectly happy to discuss the two rosés that the pub serves – one from either side of the Catalan Pyrenees.

Christ Church, Spitalfields

It was an entirely appropriate taster for the main course ahead.

A London Eye: Three Artists Look, gives a trio of painters the opportunity to show their different interpretations of the city in one place.

Although this isn’t a solo show, it’s dominated by the work of Marc Gooderham – 22 works as opposed to 12 and 10 from the other artists here.

Writing briefly about Gooderham’s work previously, I’ve touched on how he finds beauty in the run-down and the derelict, complete with street art – often faithfully captured in his hyper-real acrylic works.

While there are paintings here, there are also works in graphite and chalk, giving a great idea of the artist’s range.

Christ Church, Spitalfields, a beautiful chalk on black paper, has a delicate, spectral quality about it.

It’s the antithesis of The Ghost of Southwark Street, a large acrylic on canvas that catches the eye as soon as you enter the gallery.

Blue Skies

Here, in a way, is the epitome of what interests Gooderham, as he explained. It’s not just the derelict – or even the past – but the constantly changing landscape; the process of transformation.

He captures a part of the past that is still with us – even as some of it is about to be razed to the ground or changed into something considered more apt for the new bustle that is London.

Indeed, even documenting the street art and graffiti captures part of that transformation – many of Gooderham’s subjects are in a part of town where street art has developed into having commercial pull for visitors.

The Bell – indeed, the entire area around Spitalfields – is all part of the transformation (for good or bad) that is taking place almost on a day-to-day basis.

Wilton's Music Hall

Many of these subjects are places I’m familiar with: Christ Church, Wilton’s Music Hall, the Rio Cinema in Dalston and the Regent’s Canal in Hackney are pretty much my patch, so they have a particular personal resonance.

The works show such places as rather worn, yet still glorious for all that, and with an atmosphere to match.

It’s all achieved with a satisfying variety of techniques, from the hyper-real acrylics to a rather looser style (The Blue House), the softness of graphite and chalk, and the near-abstraction of Blue Skies.

It is also, of course, a call to look at and explore our built environment – and most particularly where you least expect: to look and find the unexpected glories that the urban world has to offer.

Try it some day. You can even do it on the nightmare that is Oxford Street: cast your eyes above street level and there is a different and fascinating architectural world to be discovered.

London Face

Miranda Benzies’s work offers a very different perspective – her London Faces series is an intriguing and surreal world where iconic aspects of the city are reimagined into human faces – a London Eye car becomes an eye, for instance, as in the eponymous London Face.

In London Lady, a red phone box becomes a mouth – which did remind me of the anecdote about Max Bygraves telling Julie Andrews how to speak Cockerney for My Fair Lady: “just open your mouth like a letter box and it all comes out!”

There are also landscapes here that convey London – and particularly the Thames – in a different and sometimes rather darker way.

The execution is excellent – Benezies’s works are all in oil, with a very fine finish

Nicholas Borden paints en plein air – which is a challenge in itself in the bustle of London – and explores the city in bold, bright and deceptively simple canvases.

The selection here includes oil on canvas and on wood, plus drawings.

This may be a small exhibition, but it’s a fascinating presentation of London – and not least, of the less well-known side of the capital.

A London Eye: Three Artists Look is at the Leyden Gallery, 9 Leyden Street, E1, until 15 November.

leydengallery.com

Forget unmade beds – how about some real painting?

A Murder, Lee Madgwick

A couple of weeks after seeing the East London Group exhibition at the Nunnery in Bow, I joined in a conversation on Twitter that had flowed from that show.

One lady had tweeted that the pictures were wonderful – but a tad old fashioned for today’s tastes, which she thought was a shame.

It is an interesting view – and it’s easy to see where it comes from and why it exists. But I think it is, nonetheless, flawed.

What is the case is that the art produced today that gets mainstream media coverage, and the contemporary art that is seen in major galleries is, by and large, conceptual art – in other words, it’s not painted and it’s not figurative.

Aux Loisirs de la Haute Vallée, Judith Alsop Miles

An easy way to explore this is by looking at the UK’s most publicised art award – the annual Turner Prize, which goes to a visual artist under 50.

The prize is 30 years old this year and, in a way, what the general public remembers of it is a little like many other aspects of life: the more ‘outré’ some of the work of the nominated artists on display, the more it becomes rooted in the public’s consciousness.

So, we had Damien Hirst’s shark in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living, in 1992, and Tracey Emin’s My Bed in 1999.

Valencay, Christian Furr

Neither of them won – but while many of the public will remember or be aware of those works, few will remember who did win and what for.

They were, respectively, Grenville Davey for an abstract steel sculpture (Entitled HAL) and Steve McQueen, for a video based on a Buster Keaton film.

In 2003, Jake and Dinos Champan caused a press sensation with a sculpture, Death, that appeared to be a pair of plastic, blow-up dolls doing the 69 on a lilo.

It was actually made of bronze and just painted to look like cheap plastic.

In other words, it was something of a technical feat that seemed to be designed to prove just how certain media elements love crass sensationalism.

Carcassonne Square, Allan Kirk

That year’s winner, incidentally, was Grayson Perry, with a series of ceramics decorated with sexual imagery, although where it’s probable that more people are aware of Perry’s transvestism than his pots.

Of course one of the advantages of the Turner Prize is that it upsets people like Prince Charles.

On the other hand, one has rather more sympathy with the view of the Stuckists, who have protested against the prize since 2000, describing it as “a state-funded advertising agency for Charles Saatchi”.

Stuckism is an international movement, which was founded in 1999 by Billy Childish and Charles Thomson, and is intended to promote figurative painting in opposition to conceptual and what their manifestos describe as “ego-art”.

As I’ve suggested before, one can say of Hirst that one would not give one his works space in your home, but to also think that perhaps he has deliberately taken the piss out of the sort of people who have spent millions on his pieces and, if that’s the case, to have a sneaking regard for what he’s done.

January Sea Study, Mick Oxley

But that’s all part and parcel of the Saatchification of UK art, which is largely about art as ‘investment’; about what’s ‘hip’ and ‘on trend’ – and, it often seems, about what people will admire for the sake of being seen to be ‘in on it’.

That’s not to say that all contemporary, not-figurative, non-painted art is exploitive in such a way.

As I’ve said before, there’s absolutely is a place for installation art – I have no difficulty with the idea of it. Indeed Anish Kapoor’s Marsyas in the Turbine Hall of the Tate Modern in 2003 was an extrarordinary piece that, in scale alone, provoked myriad reflective responses when you wandered around it.

Raven, Maggie Goodwin

But however much you like such works, the overwhelming majority of us won’t be displaying anything like that in our homes.

So we have, to an extent, seen an increasing divide between the public and the domestic in art terms: what is displayed in galleries and what we have on the walls of our own homes.

Not, of course, that that is new. Few of us will have had a Lowry for instance – but then again, many people did buy his paintings before they cost millions.

That prices for paintings by the East London Group are now growing is indicative of the rise in interest in the group.

So ‘domestic’ art – the art that we live with today – may be the masterpieces of tomorrow.

In the Neighbourhood, Marc Gooderham

And there is plenty around to enjoy.

That art schools in the UK at least no longer teach drawing is not indicative of a lack of top-notch, figurative painters working in the country right now, thankfully.

And the internet – and social media – can be a superb way of finding and watching some such artists.

So, to take just a few examples:

Escape from Change, Lee Madgwick

Lee Madgwick is a professional artist, living and working in Cambridgeshire, who trained originally as a graphic artist rather than in the fine arts that one might expect for a … well, a fine artist.

His paintings are extraordinarily haunting, often featuring decayed buildings or out-of-place objects in lush English countryside.

There’s something reminiscent of Magritte here, in these lonely, deeply atmospheric works, with their quiet suggestions of hidden dramas – and all beautifully executed in oil and acrylic.

www.leemadgwick.com

@LeeMadgwick

The Thames from Richmond Park, Christian Furr

Christian Furr is particularly acclaimed for his portraits – in 1995, he became the youngest artist to be commissioned to paint the Queen.

Things have not, fortunately, gone downhill from that point.

Much of his work is by commission, but while his landscapes are utterly traditional, his cheese paintings are Impressionistic – and look good enough to eat.

Cheese paintings

www.christianfurr.com

@Pientello

The Apartment, Marc Gooderham

Marc Gooderham is a London-based painter whose work ranges across styles, from black and white drawings of his home city, to superb, hyper-real acrylic paintings of this and other cities, with several ports of call in between.

But he doesn’t opt for the obvious subjects –  the smart, beautiful areas that suggest a tourist experience – but looks for and finds beauty and fascination in more run-down scenes, complete with graffiti and street art, in a meeting of the old and the new.

Indeed, the London scenes can be viewed as a intriguing continuum of what the East London Group were doing, with scenes from Brick Lane and around Hackney – buildings and streets that would have been around when the group were active and have somehow survived everything from the Blitz to the developers ever since.

It’s another stage in London’s evolution – the street art that Marc records is even bringing visitors to areas that, previously, most people would have avoided.

Marcgooderham.co.uk

@MGooderham

Bins, Judith Alsop Miles

Judith Alsop Miles is a watercolourist whose subjects range from “the Pyrennes to the Pennines”.

Her paintings are gentle and beautifully executed, but don’t let that fool you.

There are surprises in her subject matter too – her online gallery/shop includes a section of industrial paintings and then there are works such as a painting of a curving row of large wheelie bins in different colours.

Which illustrates once again – were it needed –  that you can find things to paint or draw in the most unlikely places, and they can look good.

www.meerkatsmiles.com

@MeerkatSmiles

Flower Shop, Allan Kirk

Allan Kirk is based in the South West of France – perhaps it’s no coincidence that I love his work so much, because I can recognise, if not a specific place, then the sense of the area as a whole.

There’s an enormous amount of pleasure in his work, which beautifully captures the area that he lives in.

Allan also runs Tarincolour Watercolour Holidays with his wife from their farmhouse. He teaches watercolour and has developed online tutorials for watercolour, and pen and ink.

His website has a huge number of galleries in which to let yourself get lost for a while.

www.tarnincolour.com

@tarincolour

Heron collograph, Maggie Goodwin

Rather differently – you’ll see why in a minute – is Maggie Goodwin.

Although she does paint, Maggie describes herself as primarily a printmaker from Yorkshire, who finds much of her inspiration in the open spaces of that county, and described her passion for nature as having begun in childhood, when she “gathered things which have taken my eye while out and about”.

Maggie started printmaking after taking a workshop in 2005 also creates works using hand-pulled etchings, collograph, drypoint and lino print.

www.etsy.com/shop/printsbymaggieg

@Printsbymaggieg

Cheviot Stream, Mick Oxley

Mick Oxley is an artist and gallery owner in Northumberland.

He focuses on work that brings out the rugged beauty and the unpredictability of the region in which he lives and works, from the fells to the sea.

These subjects are perfectly matched by a style that is highly Impressionistic.

His gallery continues a wide range of work by other artists too.

mickoxley.com

@mickoxley

The point about this all this is very simple: to dispel any myth that conceptual art reigns supreme and there are not plenty of wonderful artists out there using paint figuratively.

Their works range from modern takes on figurative painting to the more traditional, providing a vivid snapshot of just how alive and well figurative painting is in the UK today.

The few artists I’ve highlighted are just that – a very few – and I’ve deliberately avoided mentioning other artists who I have mentioned here before.

I hope you’ll explore – and enjoy – their work.