Emma Hill

+2 : Egypt : Cairo : 11/ 10 / 2001

noreply@blogger.com (Emma Hill) — Sun, 19 Apr 2020 08:01:00 +0000

Living Amongst the Dead

At last I'm in Cairo, I'm excited as it means I get to seethe Pyramids. My earliest memories of art are of drawing hieroglyphics, making my own alphabets and designs. I was interested and obsessed ancient Egyptian mythology, culture and afterlife, lured in by shiny gold.

Photograph by Tamara Abdul Hadi

On the way to the Pyramids the majority of buildings appear to be in the process of construction, half built structures with steel supports jutting out of the ceiling with no roof or missing walls. Apparently, this is a scam in order to avoid tax, at least that's what I thought I could make out from the taxi driver's pigeon English. He also pointed out the Citadel, the old capital of Upper Egypt, where he tells us of an old cemetery where people have taken over from the dead. In the past tombs had mausoleum complexes built that were for entertaining. In the times of the Pharaohs, people came to enjoy picnics amongst the graves, often there was even enough space for sleeping over. Later these rooms became perfect places for squatters to take over. Today there are many people who have taken over the tombs, living amongst the dead as new generations become brought up this way.

The Pyramids of Gaza

We get to the Pyramids and there are hoards of people bustling about their working day. Those with camels or donkeys try their upmost to tout for business, luring you in at each opportunity. In the end it gets too much, discontent with the business of bartering a group of five Egyptians verbally panic and shout at one another, as if they were claiming their rights on us. We became their prey following the pack taking the nearest group of camels. I felt sorry for these animals and it was obvious that they had seen better days, with their scabby skin and mass of flies in tow, I wondered if we would catch anything. I wasn't sure of how they were kept, although they looked a sight they were seemed content, happy enough and it was so hot, too hot to be walking about so I followed the others.

Once we had left the hustle and bustle of hawkers, it was calm and quiet. We had got there pretty early and we were lucky to be the only people heading towards the great Pyramids. As I shutting my eyes and slowly opening them I could reach towards the spiritual possibilities and history that surround the Pyramid's existence. When they were built the exterior blocks were glistening with white limestone that reflected beams of light in all directions. It was only up to the 19th Century that the limestone was stolen to build the palaces and moss that you see in the city. The Pyramids are huge, and it seems impossible to get your head around how they were built, with such huge blocks, how were they even transported or lifted? And that's not getting as far as the network of paths and corridors connecting the inner chambers. There are many theories as to who built the Pyramids and why. The most traditional explanation being the ancient Egyptians built them as a means, assisting them to reach eternity, guided by their desire to be at one with the cosmos. It was thought that a Pharaoh was the Son of God, he was gifted to earth to lead and serve his people and then in his death he became immortalised as a god. The Pyramids, as well as serving as giant mausoleums for the deceased Pharaoh, are also visual reminders of the ancient Egyptian beliefs of the absolute and eternal powers of the Gods as they rule their land. While other conspiracy theories suggest they have been built by extraterrestrials.

We asked our guides if it was possible to go inside, our response was a firm no! It is possible but it is not worth the effort as it is just a dark black smelly claustrophobic hole, where you can't see a thing. You probably can't see much but I guess the reality was they wanted to keep us as their meal ticket for the day. We enjoyed ourselves and it was spectacular to see the Pyramids and the Sphinx on camel back. At approximately 66 ft tall and 250 ft long I was most impressed that the whole body of the Sphinx has been carved out of one single mass of limestone. While being amazed at the sights we were seeing, as one of the seven wonders of the world, I couldn't help but feel a conned and disappointed. Our premonition was right. As we approached the place where we started the tour , our guide takes us into a slightly different direction and starts to demand more money, as we now needed to pay the other young boy who had tagged on half way and for the up keep and food for the camels, but on no account were we to report this incident to the camel owner. It's a shame that they were so desperate to con for money. Conveniently enough, when we arrived, our taxi driver was out for prayer, which lead to the next opportunity for a scam. They kindly offered apple tea and insisted we took shelter as it was the hottest time of the day. He took us to his friend's gallery selling cheap replica scrolls and 'nice' - tacky, 'ancient' souvenirs and asked us, insisted we buy something there.

Museum Mummies

I was amazed at seeing some of the contents that had been taken out of the Pyramids and tombs. The sheer wealth and beauty in gold was breath taking and there were a vast number of mummies and statues scattered everywhere. With such an amazing amount of contents and it's wealth it seemed strange that the up keep of the place was so poor. There was thick dust everywhere and it was dark and dingy with little or no trace of identification.

There are scrolls of writing, pictures and murals in hieroglyphics, where the relief of people are all lined up on the same level with their feet placed side by side, horizontally, one in front of the other. There are ancient images representing the advances in technology and science, which is apparent in their use of astrology as they look up to the Gods. They believed in an after life and the tombs reveal script that illustrated the journey on to the afterlife. To help the dead Pharaohs on their voyage to immortality, offerings were given to the Gods, sacred animals, gifts they may need and gold were encased within the mummified king, in the tomb with him.

The most startiling and impressive belongings belong to the boy-king Tutankhamen. Although many of the pieces made in gold are seen globally in images, it can not compare to the real thing. This has to be the most beautiful art I have ever seen, breath taking, and also perhaps also for the vast amount of gold and the there value of it and weirdly placed in tattered dirt and darkness it seemed so surreal. The there volume of gold was astounding, from his headers, to the inner sarcophagi of his tomb, where there were jewels, statues and chariots. When you get past the vast gold, you are overwhelmed once again by the beautiful intricate carving, which illustrated the Pharaoh's journey to reaching immortality in the afterlife.

The strangest room, was dark and even dustier, full of mummies from the Graeco - Roman period. The room was full of encased specimens of mummies inside glass cases, lying flat, stacked high, one on top of the other. The mummies speed unusual due to the realistic portraits painted on top of their mummified faces, which I hadn't expected to see as it looked out of place. It seemed strange to see a style that was closer to romantic neoclassical painting of European art, a far cry from the simplistic ancient Egyptian figure and portraits we are accustomed to.

Tacky Nostalgia

We ended the day returning to the Pyramids to watch The Pyramid Light and Sound Show where the Sphinx takes the role of narrator, telling us the story of the legacy of ancient Egypt. The light show is dramatic and spectacular accompanied by the voices of Richard Burton and Elizabeth Taylor, that echo, bouncing off the walls of the Pyramids. It's tacky and cheesy but charming, full of nostalgia. As I turn my head I can see the bright illuminations of the shops near by and the large bold signage of 'Pizza Hut' which feels disappointing, ruining the view. I'm almost surprised that it isn't Mc Donnald's golden arches. Sadly fast food gets prime location as profit wins against the cost of aesthetics.

+1 : France : Alps : 28/07/2002 : 12/04/2019 : Swiss Alps 12/04/2020 / 1920's

noreply@blogger.com (Emma Hill) — Sun, 12 Apr 2020 07:57:00 +0000

French Alps.

In my original writings this part was edited out. Originally I'd put it in to get the +1 in my original format. now adding the timelines I've decided to put it back in because it seems relevant. I have travelled to most European countries, some frequently more often than others, but I didn't visit during 2000-02 so I haven't included them yet, but quite likely will later. Today is Easter Sunday, for the past few years we have enjoyed Easter in the Alps and yet it is the Alps that became the epicentre of the Covid 19 outbreak, spreading all across Europe at rapid speed.

2002

After making a swift recovery from piercing my nail with a two and a half inch nail I was pleased not to miss out on a long weekend to the glacier of Tines, in the hope of learning to snowboard. Unfortunately I don't seem to have inherited from the Norwegian saying of Norwegians being born with skies on their feet - far from it, I'm not exactly what you would call a natural. Of course I was continually told how easy it is, just bend forward and slide, but it didn't help when my body's immediate reaction was to lean back fore the fear of the steep slope. You wouldn't have thought that I had actually skied down the men's Olympic downhill slopes in Lillehammer. I continued to persevere, I had an ultra cool instructor who was not impressed by my serious lack of process

French Alps : 12 / 04 / 2019

What a difference, a year to the day makes.

A I said, usually for most years, at this time of year we go to the Alps skiing for Easter. I ditched the snowboard and happily returned to my skis. I'm not great but at least I can just about keep up with the kids, and we have great fun as a family together. The images below then are from Flaine, a Piccaso'esk sculpture and an alpine scene in a bar we often visited on the slopes.

Above and below, just beside the slopes, artist unknown.

Uk: Seeking Art on Lockdown : 12/04/2020

Swiss Alps 2020

Bicicleta Semfreio (Brazil)

I'm a huge fan of street art and graffiti, and on a grand scale it feels that much more striking and alive set against the backdrop of mountains. Swiss resort of Crans-Montana in Canton Valais, the Swiss Alps, play hosts to The Vision Art Festival : Taking urban art to new heights. Here are a few of my favourites, follow the links for more alpine art and info.

Okuda San Miguel (Spain)

Twoone /Hiroyasu Tsuri (Japan)

Fanakapan (UK)

Vision Art Festival Artist link

Street Alps Instagram link.

Swiss Alps throwback to : 1920s

Other than street art and expensive gallery - worldwide art I didn't find much in regards to contemporary painting originating from the alpine regions but I did find the wonderful artwork of a German expressionist painter, Ernst Ludwig Kirchner. He was the founding member of a group of artists from Dresden who called themselves Die Brücke - The Bridge. They saw themselves as bridges, bridging the gap between the art of old and their new art of expression, inspired by the words of by Fredrich Nietzsche who said:

'What is great in man is that he is a bridge, not a goal.'

Bridge at Wiesen : Kirchner

Sertig Valley in Autumn : Kirchner

Sertig Valley : Kirchner

0: Africa : Nigeria : Lagos / UK : London in Lockdown 05 / 04 / 2020

noreply@blogger.com (Emma Hill) — Sun, 05 Apr 2020 09:17:00 +0000

UK Lockdown : 05 / 04 / 2020

While I didn't really catch any art on my visit to Lagos and Abuja in 2001/2, surfing the internet in UK lockdown 2020, I've found some interesting finds. I started my search on street art and found Eko Tag, a community putting up monuments around Lagos most recently they have worked with the artist Osa Seven, working on his mural at Ozumba Mbadiwe as part of the Lagos@50 celebration.

'In constant pursuit to change the African narrative towards street art and Art in Public Space.' Osa Seven

To see more of Osa's work visit his insta here.

Osa Seven

Osa Seven Mural at Ozuma Mbadiwe

******

Laolu Senbanjo

Another artist whose work I found and love is Laolu Senbanjo. He gave up his job as a human- rights lawyer in Nigeria to move to New York in 2013 to follow his dream of being an artist. He was a struggling immigrant artist - and then Beyonce called. His work is detailed, tribal , urban and political while using everything as his canvas. For more visit Laolu's insta here.

Read Laolu Senbanjo Cosmopolitan interview here.

@cosmopolitan share his story my story

Read Laolu Senbanjo Cosmopolitan interview here.

Amerikkka is to guns as Mary is to Jesus.

He says:

It’s easier to ban books in America than it is to ban guns.

In America there are 89 guns for every 100 people.

More than 36,000 Americans were victims of firearm-related deaths in 2015.

Gun-related deaths are now the third leading cause of death of American children.

Every day, 7 children are killed and 12 more are injured with a gun.

In 2018 calendar year we've seen 307 mass shootings.

The 2nd Amendment gives American citizens the right to bear arms. However, is this really necessary? Are we at war? Yes, we are. We are at war with gun violence. How many more Mothers have to lose their children before the constitution changes?

As an Artist I cannot be silent. Your silence means acquiescence. Be the voice for those who don't have one . Education shouldn't mean sacrificing your child.

“African art is not just what you buy at Harlem market in New York, every piece of art you see has a story, and every artist has a name.”

-Laolu Senbanjo “Africa”

******

Marcellina Oseghale Akpojotor

An amazing Nigerian women, is the artist Marcellina Akpojotor who has just recently exhibited @relegallery Young Contemporaries Alumni . Her technique is beautifully delicate, her figures are created from collaged pieces of vibrantly coloured and patterned Ankara fabric manipulated and mixed together to create her figures . Her subject matter is often of family and friends while capturing intimate moments, reflecting society around her.

Visit here to see more of Marcella's art work.

Closing the gap

Kesiena's Diary by Marcellina Akpojotor

"Trust the process as it is certain to birth new discoveries."

All in the detail

******

Chris Ofili.

Chris Ofili is a British born Turner Prize (1998) winning artist with Nigerian parents. He is best known for incorporating elephant dung within his paintings and was one of the Young British Artists. He has worked and lived between London and Brooklyn but since 2005 he's resides in Trinidad.

My favourite examples of Chris Ofili's artwork are on a previous post.

To see a previous post of Chris Ofili's Upper room at the Victoria Miro Gallery 2002, follow this link

The most current and poignant artwork I can find of his today is his 2020 official poster for the Tokyo Olympics, 'The Games People Play', depicting two figures merging into each other. I've also included his 2012 poster for the London Olympics , 'For the Unknown Runner'.

Question is will the Olympics go ahead?

Will the go ahead with closed doors?

Today, nobody knows what will happen.

******

Yinka Shonibare

Yinka Shonibare a British - Nigerian artist, born in London moving to Lagos aged 3 and then back to the UK to study, and later become a Royal Acadamian. His artwork explores cultural identity, colonialism and post-colonialism within the context of globalisation. His work is mostly recognised by his use of brightly coloured Ankara fabric also known as Holland or Dutch wax fabric. The fabric was originally made in Holland for the textile market but became primarily recognised to be associated with Africa because of it's tribal like patterns and motifs. Yinka Shonibare's use of the fabric enhances his political commentary on the relationships between Africa and Europe, of their economical and political histories.

Yinka Shonibare

Cake Man II, 2014: Photo: Stephen White

‘I see what’s happening as an African renaissance’ - Yinka Shonibare

How to Blow Up Two Heads at Once (Ladies), 2006 : Yinka Shonibare Photo: Stephen White

Yinka Shonibare : Guest Artists Space Foundation : GAS

While searching for more on Yinka I found his foundation that he has recently set up called,

The Guest Artist's Space Foundation / GAS.

In the magazine the The Face, Yinka Shonibare says:

“[Guest Artists Space Foundation] won’t just contribute to the Nigerian art scene, it will contribute to the British art scene and the American art scene too.”

Continuing on his instagram: There is a new wave of artistic philanthropy models in Africa, wherecelebrated artists wish to ‘give back’ and to support artists from the continent.

Yinka Shonibare has launched the development of his new artist residency @gasfoundation, that is dedicated to facilitate international artistic and cultural exchange and developing creative practices. Additionally, @shonibarestudio has created the private Ecology Green Farm in a rural town outside of Lagos. This farm supports the local ecosystem, by contributing to food security, creating jobs and boosting the local economy. “Shonibare is aware of and sympathetic to the challenges faced by artists everywhere (especially on the African continent) on their journey to recognition and success, and his initiative will have enormous impact on the future of the African art scene.”

I'm so excited to have found this, it truly is a fantastic project connecting art for a great cause worldwide. In connecting and sharing cultural differences and knowledge and cultural identities and experiences art becomes the foundation of communication Beyond Isolation I hope to see this grow, strength to strength. I'll return in the future for an update, meanwhile check out the links after the photos.

Take a look at these links, they are well worth a visit.

The Yinka Shonibare Foundation, web link

Yank Shonibare Studio : Instagram link

GAS Foundation / Guest Artists Space Foundation : Instagram link

THE FACE :Art & vegetables in Lagos with Yinka Shonibare, interview here.

0: Africa : Lagos 04 / 05 / 2001, Abuja 20 / 04 / 2002, 03 / 08 /2002

noreply@blogger.com (Emma Hill) — Fri, 03 Apr 2020 14:06:00 +0000

Nigeria : Lagos : 04/ 05/ 2001

At last I've moved on from the UK but we are still on the same time zone of GMT.

I have never experienced such chaos, in the pouring rain with mud everywhere. I could imagine a mud slide or some sort of horrific traffic accident any moment, but luckily it never happened. We try to get across a roundabout, which is usually a couple of cars deep, but today it seems to have doubled as 4 or 5 cars deep struggle across the grass verge, like ants finding their ways the road disappears. In between the cars people are hustling trying their luck at selling anything they can, most of which appears delicately presented on a large tray, carefully balanced perfectly, effortless on each head. Strangely the rain doesn't seem to make any difference; there are eggs which could have been fresh or hard boiled ready to eat, little deserts and sumptuous looking and smelling fruit, a real feast, all ready and available at a bargain price.

The following day I was relieved to see the sunshine, I couldn't imagine there was much to do otherwise. The pool was nice and relaxing, that is when you are able to shut out the cry of the squeaking black ravens that seem to be competing against screaming kids. The lizard gecko creatures are brightly coloured about the length of a foot, they bob their heads up and down, similar to the tacky noddy headed dogs occasionally seen on the dashboard or back of a car. They are top entertainment, each a character to their own, they either jig like they are rapping or are totally chilled out, horizontal and smooth. I think their favourite past time is sunbathing, or maybe they are just making fun of us.

The disadvantages of being in Lagos (It takes first place in the dreaded crew list of not wanting to go to) aren't as bad as I had expected after hearing nothing but complaints. So without much to do I thought I'd summarise my experience.

The initial flight - the journey to get there is exhausting. Strangely the flights to Lagos are extremely lucrative, by the end of the flight almost every item has gone, leaving the bar and dusty free trolleys bare. At the hotel the electrics definitely have a mind of its own, buzzing away where you can almost imagine someone is winding an ancient key. On a regular basis the electrics usually cut out, to which you have to wait any specific amount of time, sometimes it's an hour, but usually it's something between a couple, to twenty minutes until the full force of the generators kick in and take over. The worst time this happens is while having a shower. It's awkward in the dark and pretty uncomfortable when the water goes from luke warm to ice cold. Then there is water, which runs a muddy brown. The food was dull and the rooms felt damp and mouldy as the sheets were wet as if they had just been rung out.

All these issues were nothing, just niggles as my worst complaints had to be for the mosquitoes. I think the damp bed was at an ideal temperature to create a perfect breading ground. It was of no help getting so many bites, I counted 53 bites on one leg and 62 on the other with a few extras scattered about my body, to say the least the mosquitoes had a jolly good feast on me. These strains of insect have obviously got the better of human technology, as I'm sure the aid of a repellent stick and spray did the opposite to it's claim working like a magnet to attract as many bugs as possible. The old wives tale didn't work either, as I ate almost a whole pot of marmite. The problem with the mosquito bites were not so much the itching or irritation, but more as a trigger racing my mind into panic. I became a bundle of nerves, due to the potential malaria risks. The strength of the imagination in certain situations can diffuse the boundaries of real and unreal. My mind raced wild, I somehow believed that I had caught malaria and started to experience phantom symptoms due to my over worked imagination and anxiety. I felt nauseous, dizzy and had the shakes. Of course I was very relieved that I hadn't caught malaria after all, all the same I was hoping that I wouldn't be returning anytime soon.

Nigeria : Abuja 20/04/2002

Abuja is considered the financial or 'new' capital of Lagos and on the way to the hotel you could see the beginning of new big developments rising, the largest looking like an impressive, large stadium. At the hotel the back-drop view is of a large mound, reminding me of Table Mountain in Cape Town, but this was in miniature and not so flat on top. I hate to admit but after Lagos I wasn't expecting much, mostly worried about getting bitten and not wanting to become so paranoid again. As for the food, I was pleasantly surprised. Everything seemed quite nice, it felt like a well kept secret, more like a mini break holiday than work. The weather was lovely, very hot at a good 40 degrees and once again you meet the cute gecko type lizards that bob their heads up and down to their imaginary beat, while scurrying under your feet in the hope of catching some food.

The hotel was kitted out in a time warp taking you back to the glamour of a seventies nightclub. I was on the brown floor, I heard that others were on green, turquoise or orange floors, which was indicated in the carpets, room decor and bathroom suits. Large diagonal stripes lead me to a bathroom in grades of beige to dark chocolate brown. Above there's a mirrored panelling tinted in rich gold. A little tacky, like you might find in a cruise ship's cabaret or casino.

photo credit: tour2nigeria

Unfortunately I didn't take the opportunity to do much exploring, I got as far as the local craft market outside the hotel. The market composed of eight little huts which opened into a circular room where items were sold. Mostly there was carvings made from wood or soapstone as well as chessboard sets and the sculptures and a bit of chintz. Inside were rows ands rows of items to sell, all coated with an inch or so of dust that had accumulated throughout the years. Hidden away I was delighted to have found myself an authentic - old mask, calved with an almond face set into a soft heart (As above) With a raindrop on her forehead I wonder if she is Oshun, the Mother of the African sweet or fresh waters. Osun is the Goddess of Love and is widely beloved.

That evening was like being on holiday except you were with people you had never met, taking the place of place of family and friends. We sat by the pool bar drinking pinacoladas. One crew member held up a statue he was told was the God of Thunder, liking the thought he bought it as a souvenir and worshipped it in mockery. I'm sure that was why an electrical tropical storm appeared out of nowhere. There was tremendously load thunder and electric fork-lightening that brightened up the dark sky, while the rain had the same force as a power shower. As long as I wasn't getting wet I really loved it, it was so atmospheric, it felt like we were living inside a nostalgic film. (Albeit an Agatha Christie, Murder Mystery) We had a great dinner, a Mongolian on the restaurant balcony where we concocted all sorts.

Nigeria : Abuja : 3/08/2002

Well what can I say, not quite the same type of place when you are stuck for four days solid in the pouring rain. I was quite lucky as I had brought some painting to do. A flow of waves which was waiting for a top layer, a tedious effort of detail in tooth picked dots, merging mixed tones of aquamarine, turquoise and green. It felt amazing as my 'suite', or shell of a room was formica deep turquoise , so every colour matched and blended in - not necessarily in a way that I liked though. With little to do I spent my time painting and watching Discovery Channel on loop, not too bad but I was missing the expected sun. Other crew were less fortunate, Michelle being the least as she was welcomed by twelve cockroaches, on, in and surrounding her bed, only to be told sorry there are no other rooms available, yikes! Room service was another waste of time and effort, I was fortunate, Jayne was not, it took 2 and a half hours to get what she finally ordered, third call lucky. It's expensive here too, £3 for a Diet Coke. The Mongolian buffet was not quite as effective this time round with 15 of us all at the same time, not really worth the bother. But the evening ended well with a live band singing all the old diva classics to which we all sang and danced along to.

0: England : A New World in Lockdown for Covid 19

noreply@blogger.com (Emma Hill) — Wed, 01 Apr 2020 12:09:00 +0000

Wonderlust - Unsaturated : ~ Emma Hill 2020

Wow, now we truly are living in crazy times of uncertainty and fear in lockdown due to the virus Covid 19. In the Uk we are a week and a half into our lock down, at home in isolation. Many people are sick and many are dying, I'm not going further into this as there is enough in the media and on the news. Instead I'd like to bring forward and share inspiration, positivity and hope that art can give to us all.

It feels quite strange that right now and back then in the span of 20 years our time has become polar opposites, but I truly believe in our creating art it still has the same values that are even stronger today in our isolation.

At the beginning of this year 2020 I had decided to start to blog (again), to copy up my writings of my diary - Art Culture Vulture : Travels of an Art Seeker -My Artist journey from 2000- 2002. I lasted a month and I didn't even get beyond my updates from the UK. The format I chose was jumping the time zones, I didn't even make it to +1 !

So now that I've got lots of time and don't really feel like painting, that will come, I'll get back to this. While my artist journey took me on travels worldwide as a sought art globally, now it feels even further away, totally out of reach, impossible. Yet with the advancement of technology at our fingertips we can still search, find and share art connecting worldwide from the isolation of our bedroom.

The painting above I painted a month or so ago, but I've taken the saturation out, below is the original. Now as I look at both images it seems quite appropriate. Above reminds me of the mountain peaks, ski slopes and the valleys below. Usually this weekend we have so far been lucky to go to the Alps skiing most years and yet that's where our European outbreak started. It's not quite black and white, just a hint of pink and blue that gives me hope. In the original colour version below and my thoughts after painting it was that it looked like a suspended city. It made me think that here we are, nature is fighting back finding her balance, claiming what is rightly hers. To me the painting looks like a vast landscape that is waiting for us to explore and enjoy, while a pink swallow / hummingbird leads the way. We are still there, but within harmony with nature on her terms. Where I thought it felt like a warning for climate change, now it gives me hope beyond this virus. While we are in lockdown it appears that nature is slowly repairing itself.

I most definitely didn't think any of this when I painted it, it wasn't intentional, it's only afterwards I try and look and see things, mostly to find a name.

Wanderlust : is a strong desire to wander or travel and explore the world.

I guess the whole point of what I'm attempting to do here.

The scenic photographs below are where I go with my family for our daily walk, down our road around the golf course, mostly we go to catch the sun set and enjoy nature's beauty among the trees.

Jessica's Pond

Golf Course

Wanderlust : Emma Hill 2020

0: England: London: Monkey Magic 01/ 08/ 2002

noreply@blogger.com (Emma Hill) — Sun, 26 Jan 2020 08:35:00 +0000

Chris Ofili

At last I go to an exhibition by Chris Ofili, and this time the wait was well worth it. He is best known for the use of elephant dung which is added in lumps onto the canvas or as supports for the canvas to lean on and for his pornographic images often used in controversial religious themes. His signature painting technique is a combination of layered pattern and fine dots that cover parts of the surface allowing multiple layers underneath to seep through.

Afroninana: Chris Ofili 2002

I see the sign, Victoria Miro , and realise this must be it. Outside it looked little more than a warehouse, while inside the room has transformed itself into a large bright open space, a perfect setting for a series of art works called, 'Freedom for a day.' Each canvas is brightly illustrated in red and black, radiating the colours of an African flag, celebrating freedom. The paintings, 'Afronivana' and Triple Beam Dreamer,' celebrate the beauty of an exotic woman lying in a bed of luscious fruit, flowers and foliage, accentuating her sexual allure. 'Afromantics' and 'Afro Love and Unity', are similar in colour radiating red and green colour from a star with lush foliage surrounding a hip sexy Africancouple, which look asif they could be dancing seventies retro or funk. The paintings become part of a one off, spoken word event, 'Freedom', which tells stories, poems and pros, illustrating multiple realities exploring freedom.

Chris Ofili's Upper Room

The Upper Room.

Upstairs the atmosphere couldn't be more different as you follow a darkened our corridor of walnut wood, where we are taken up stairs to, 'The Upper Room'. There are bleeps of beamed light that highlight your way across the blackened out corridor, directing you towards a dark wooden room that appears like a holy chapel. The sinister setting makes way for large paintings of the 'Rhesus Macaque' (Monkey) As thirteen paintings rest up against the wall, identified by name in Spanish on the elephant dung supports. Almost all the same size and shape and position and yet differ greatly in contrasting electric colours each creating their own individuality. Every painting is lined up the same distance apart, placed directly opposite another. As you enter the room it feels as if you have interrupted on the Last Supper with Jesus.

Mono Amarillo : Chris Ofili

92% of our DNA is shared with the Rhesus monkey and the similarities continue with many physical attributes. Psychologically their social behaviour are also like ourselves, yet it is to their sacrifice that the human race has survived as these monkeys were used for vaccine testing for many illnesses. In this instance then we can assume that this asks many ethical questions that can relate to how we have persecuted Jesus and once again we close our eyes on this monkey, of whom we have so much to learn.

Mono Blanco :Chris Ofili

Mono Gris : Chris Ofili

Mono Verde : Chris Ofili

Photo credit: Victoria Miro Gallery & David Zwirner

0: England: London: The Not So Cool Americans: The Japanese do it Better & The' Mute' White Cube 09/11/2001

noreply@blogger.com (Emma Hill) — Sun, 12 Jan 2020 08:00:00 +0000

The Americans : New Art

I started the day seeing an exhibition called, 'The New Americans.' I wondered if this was a poor relation to the UK's YBAs (Young British Artists) signature exhibition 'Sensation' being a little late and past it. Maybe it's a little unfair to compare the two as there were a few interesting works.

Perhaps the closest works that trigger similarities between this 'New Art' and the YBA's can be seen in Tony Matelli's realistic sculptures. Matelli's sculptures are allegorical depictions of people and things that are found, lost within a turbulant world striving to survive. 'Lost and Sick: Winter version', shows a drunken pubescent trio puking up their guts, out in the snow.

Lost and Sick: Tony Matelli

In contrast Keith Edmier's 'Victoria Regina', Beverly Edmier, a life sized figure of the artist's mother made in opalescent pink resin. She wears a Chanel suit in a lighter shade of pink, she looks lovingly down into her transparent room to her growing embryo, the artist inside her tummy.

Victoria Regina/ Beverly Edmier : Keith Edmier

Fred Tomaselli creates an interesting technique with his use of collage. He uses found images, bugs, flowers, medicinal herbs, hallucinogenic plants and medicinal pills. He chooses titles such as: 'Bug Blast', 'Gravity's Rainbow', and 'Untitled Expulsion'. Together these images work as pure eye candy stimulating the mind, desiring to take it to another place. You are never quite sure what you are seeing, as the image plays on your visual senses, hallucinating and merging into a larger pattern within a swirling kaleidoscope. The final result becomes luscious and inviting the cut out images become almost suspended within the encased multiple layers of glossy resin.

Untitled Expulsion : Fred Tomaselli

There wasn't that much to see as far as using paint as a medium for expression, perhaps the closest is Erik Parker's pictures that became a stylistic hybrid mix of word paintings, genealogical charts, psychedelic posters posters and graffiti art. While looking at these images, with titles like, 'Money Jungle', 'Boogie Down - This I Know', and 'Unlimited Epidemics', they become reminiscent of a hiphop and dance culture wrapped in bubblegum.

The Japanese do it better

Facts of Life

The Haywood was showing 'Facts of Life', an exhibition of Japanese art. 'Facts of Life', does not try to define what is considered to be 'Japanese', instead it seeks out the most interesting art that is being made in Japan today.

The first artwork that drew me in was the hypnotic spectrum of colours that make Shigenobu Yoshida's video, 'Bordeaux', the artist is preoccupied with light and is particularly interested to communicate the ordinary miracle of the rainbow. With the help of volunteers he demonstrates how to make them, using water and mirrors as a method of projecting the sunlight. In 'Bordeaux', a video of the view taken out of the train window while holding a prism over the lens. The result captures the moving contours and shapes of the passing urban landscape as the trees buildings and other features are split into multicoloured bands of colour.

Still from Bordeaux: Shigenobu Yoshida

Close by, hovering in the heavy air space of the gallery is Takefumi Ichikawa's 'Fuju'. A piece that consists of large transparent tubular shapes filled with helium, which floats about the large gallery space like ghosts of sculpture. Much of its identity is derived from the environment as it communicated between surrounding works, moving fast and slow, high and low, subjecting itself to the flow of air that picks it up or pushes it down, surrounding us, as you literally see through it.

Fuji : Takefumi Ichikawa

The artist Yayoi Kusama is a well known figure within the Japanese art scene, spanning back from the mid sixties. Now in 2000, she has made a film of the 'Song of a Manhattan Suicide Addict', which shows the artist seeming to turn mad as she emotionally sings, due to her overwhelming agony of flowers. She becomes troubled by the foreseeable demise of the floral phenomena that accentuates the intensity of her song becoming quite erratic. In contrast her other instillation, 'Narcissus Garden', is calming and serine. It's created by numerous 17 inch silver balls that spread across the gallery floor. Somehow I feel the desire to dive into the instillation, to roll onto the mirrored balls that glisten reflections of all the angles of the room. But I don't, I just watch the repeat of change reflected in the silver as I, or others walk by.

Narcissus Garden: Yayoi Kusama

The 'Mute' White Cube

The White Cube in Hoxton Square was showing Sam Taylor Johnson' s 'Mute', a series of silent films, solitary photographs and sculpture. The art of film, sculpture and photography work together to expose the vulnerability and resilience of the human body and the mind's psyche when it is stretched to its limit. Her works are full of symbolic meaning as the relationship between the past can be seen in the Baroque and Renaissance religious imagery placed beside today's urban landscape. The most beautiful, emotional images are: 'Bound Ram', showing the helplessness of the young bound lamb and 'Self Portrait as a Tree', which seems like a usual view of the countryside until a moment within the cloud breaks, allowing a slightly odd looking tree to become momentarily highlighted within a glow of a sun beam.

Self Portrait as a Tree : Sam Taylor Johnson

The film, 'Still Life', appears almost as a Cezanne painting fit onto a liquid display unit. At a closer look the beautiful colours of the lush fresh fruit gradually change, slowly revealing decay. As the fruit rots it folds in on itself, reducing itself to no more than a green sludge. The process of the sequences become speeded up, unraveling the imagery before your eyes. Echoing our life cycle, the life and death of the fruit shrivelled, as juicy and mouldy played on a continuous loop.

Still Life : Sam Taylor Johnson

'Breach (Girl with Eunuch)' consists of two parts, as a film and a sculpture. The silent film shows a single shot taken in real time, showing a girl becoming increasingly upset and anxious although it remains unclear why, as the threatening presence remains unseen. Somehow the sculpture shows a sign of hope with a desire to escape. A large scale, upper body of a unicorn seems to reach with all it's might to pull it's sinking back legs out of the gallery's concrete floor.

Breach (Girl with Eunuch): Sam Taylor Johnson

Photo credits: The Hayward, Ikon, White Cube, Suzy Stories

The Tate Modern 2000

noreply@blogger.com (Emma Hill) — Fri, 10 Jan 2020 17:23:00 +0000

Old Man at The Tate Modern

In May 2000, The Tate Modern, was first opened by Her Majesty The Queen. Housed in the old Bankside Power station that closed in 1981, it became one of the largest museums of modern and contemporary art in the world. It’s situated directly opposite St Paul’s across the Thames, linked together by the Millennium bridge. The first exhibit in the Turbine Hall was Louise Bourgeois’ instillation of a giant spider. Although it had been open for a few months the crowds continued to flock, ( unlike the Millennium Dome, which has also opened becoming more of a white elephant than a tourist attraction.)

The Tate Modern's conversion of Bankside Power Station keeps many of the original features, mixing raw materials of glass, steel and wood. The giant entrance slopes into the womb of the building welcoming you to a vast cross section of global art. The art of the last hundred years are no longer placed chronologically, instead works are placed under the heading of four themes: 1, Landscape, Matter and Environment. 2, Still Life, Object and Real Life. 3, History, Memory and Society. 4, Nude, Action and Body. This allows the likes of Claude Monet's paintings of 'Water lilies', to be placed beside Richard Long's Stone Circle.

I liked this new way of ordering the art work, as it can show more within the influences within history as similar issues remain an important focus in society today. I had seen a large proportion of this work previously as has been rotated within what today has become known Tate Britain.

The building of the Tate Modern is just as much of a work of art as the art inside it and the panoramic views of London that peak in between the works speak for itself. As for the millennium bridge that stretches across the Thames, linking the Tate Modern at Bankside with Central London across to St. Pauls - it looks very high tech, yet people are still unable to use it due to the extreme movement causing the whole structure to sway.

Louise Bourgeois, Spider in the Turbine Hall

Photo credit: Tate Modern

0 : Greenwich Mean Time: England: London : Cool Britannia / The Saatchi Decade 18/ 09/ 2000

noreply@blogger.com (Emma Hill) — Sun, 05 Jan 2020 08:34:00 +0000

Charles Saatchi's YBA's

Autumn 1997, not quite the end of the 20th Century and 'Sensation' arrives at the Royal Academy, becoming the result of a cross-section of British art. This era of art is often thought of as, 'The Saatchi Decade,' courtesy of Charles Saatchi, the advertising mogul who is their greatest single patron and supporter. It has been almost a decade since 'Freeze', the exhibition organised by Damian Hirst and 15 of his class mates from Goldsmiths collage shown in the summer of 1988. These two exhibitions have become the markers from the beginning to the hype and phenomena that became Brit-Art, riding the wave of cool Britannia.

Sensation: YBA's from the Saatchi collection.

The artist's are all unique individuals whose aims were to primarily shock by celebrating the strange, the mysterious and freakish, while creating the abnormality of the normal and the normality of the abnormal. As these works bid to evoke both reality and sensation they also became images documenting many contravercial issues that were of concern at that time. The most shocking being Damien Hirst's dissected shark in formaldehyde, the Chapman brother's deformed, conjoined sex objectified figures and Marcus Harvey's 'Myra,' whose giant portrait was created out child's handprints which became defaced with egg during the show. While we could easily ask how this can be art the reality is a different story. London is well and truly back in the global at the forefront brought back into the arena.

The Physical Impossibility of Death in The Mind of Someone Living: Damien Hirst

Zygotic Acceleration, Biogenic De-Sublimated Libidinal Model : Jake & Dino Chapman

Myra : Marcus Harvey

Now in Autumn 2000 the follow up to 'Sensation', has arrived:

'Apocalypse : Beauty and Horror in Contemporary Art.'

Entering into the exhibition you crouch into a very small entrance that looks more like a gap that allows access into a building. This is an instillation by Gregor Shielder, a rebuilt room and an imaginary space for living within a house, yet separate from it. He builds rooms within rooms that are separated by narrow spaces, containers that hold the history of an individuals existence.

It's very dark and there seem to be quite a few people about, causing a state of confusion. People don't really know where we are or where we are supposed to go. I feel a desperate need to get out, experiencing an intense feeling of claustrophobia, a slight breathlessness and momentary panic. I'm unsure of the likely escape route becoming trapped inside this labyrinth. Afterwards you can see where you have been, which is little more than a box construction that seems so small and unthreatening within the large walls of the Royal Academy gallery room. Instead of imagining the type of people who may have lived in a room similar to this reconstruction, for some reason I think of Anne Frank. I wonder if her hiding place was anything like this, something about this instillation triggers thoughts of the Holocaust and of the genocides that occurred during World War II.

Apocalypse: Beauty and Horror in Contemporary Art.

The Exhibition's name "Apocalypse,' implies facing history and the present, bringing with it a sense of finality, with a horror that is recalled from deep within our memories. We as individuals can face these realities, or take refuge in superficial beauty. The work of these artists can therefore be sentiments that illustrate many perspectives within parallel worlds, within life, or within theatre of fantasy.

I tend to be drawn to 'beauty,' although it is always the 'horror,' that will remain engraved in your brain. In this case the most horrific has to be a sequence of miniature sculptures of 'Fucking Hell', by Jake and Dinos Chapman, which reveal the atrocities of war, life in the trenches and on the front line. All blood and gore, illustrating the images of injury and pain too often hidden from the public after a victory.

Fucking Hell: Jake and Dinos Chapman

In total contrast are the works of Mariko Mori, who creates a futuristic, 'Dream Temple'. At 5 metres high and 10 metres wide it is made of glass. There are also aspects of circular dichronic glass, that create a glowing spectrum of coloured light due to it's iridescent surface, enhancing the dream. Inside the central sphere with the temple is a virtual reality video projecting abstract images of astral bodies that float in and out of existence. We are taken into Mariko Mori's dream, into a future where time is frozen, where you imagine that you have entered into a time capsule that takes you into the illusion of a contemporary Nirvana. You experience a contrast of emotion, initially you are captured and attracted by the transparent beauty that becomes seductive and hypnotic, a place that looks like it can take you on a trip to enlightenment. And then on the other side of your mind there is uncertainty and apprehension, a fear of a future where science has gone a step to far, or aliens could have abducted you.

Dream Temple: Mariko Mori

An interesting sculpture I likes is Tim Noble and Sue Webster's 'The Undesirables'. A shadow play rising above a stack of rubbish, which in the light across the wall, becomes the shadow of a couple watching the sun go down. Inspired by a trip to Glastonbury music festival the work becomes a comment on the state of society. At the base a pile of excess rubbish that contributes to environmental catastrophes such as pollution and global warming, although somewhere there is hope and beauty within nature and love.

The Undesirables / Dirty White Trash (with gulls) : Tim Noble and Sue Webster

Perhaps one of the most shocking is Maurizio Catalan's, 'La Nora Ora / The Ninth Hour' a fully life-sized waxwork of Pope John Paul II who has been hit to the floor by a meteorite that has smashed through a glass roof above, as he continues to clutch on to his crucifix, in hope , clinging onto dear life. A whole large room is dedicated to this piece and when you walk in you are set gasp because the sculpture looks terrifyingly real, you can easily imagine such an unfortunate event. It's shocking but also ironic as the Pope holds on to his cross to the very end.

La Nora Ora / The Ninth Hour: Maurizio Catalan

Photo credits : The Royal Academy and The Saatchi Gallery

Art Crazy Nation: So What's Art Got To Do With It? 01/ 01/2000

noreply@blogger.com (Emma Hill) — Wed, 01 Jan 2020 20:40:00 +0000

My Art Seeker Journal : 20002

Art Culture Vulture: Travels of an Art Seeker

While my work as cabin crew took me to many countries I began writing about different situations that I found myself in. I took hundreds of photographs that I thought that one day I might use within my own art. I continued by collecting images of other people's artwork that I found, that I came across along the way. I realised the searching became like an addiction, a need to feed visual stimulation which in turn triggers continuous inspiration which allows my own work to grow, forever changing and developing. My writing doesn't follow a traditional, logical journey in a usual sense as most of my visits are only a few hours to a day long. Often it was by luck or chance of circumstance and the possibility of what I was able to find within a very limited timeframe. I therefore used time as my format, creating a 24 hour day. By jumping time zones of the world I could document the segment of time I had within a country or place with in it. I started in London at Greenwich Mean time, whereby I added an hour, until I reached the international date line , and then began to subtract an hour, returning back to where I started. By using this format I have been able to place one day next to another that could be over a year apart, depending on when I last visited.

01/01/2020

Art Seeker Stories

20 years on and my views are still the same. What I couldn't have imagined back then is the extreme advancement in technology and communication, the main factors being the smart phone, the rise of the internet - google and social media.

I hope to take this year to revisit my experiences and art findings and share them with you in Art Seeker Stories. I continue to seek art, no longer real time but on my laptop. I hope for the art stories to grow, to see how the artists or places I saw may have changed in the last 20 years but also to share new artist stories so that I am continuing my artist journey of 20 years ago, sharing art I love, connecting artists worldwide.

My Art Bible: 3 Books by Matthew Collings

Blimey!

It Hurts

Art Crazy Nation

I have a lot of books and have collected them for years but three books are probably my most influential because they marked an era in art history which in response started me on my artist journey. Mathew Collings is an artist and writer, an art critic and presenter for; 'This is Modern Art' and, 'Hello Culture'. In his book 'Blimey! 1997 he tackles the London art scene from within the inside but questioning from all perspectives. It rides the wave at the height of the Saatchi decade, the Young British Artists phenomena and cool Britannia. His direct, matter of fact, nothing spared approach sparked my quest for searching art.

In 1998 he published 'It Hurts', a New York version of London's 'Blimey!' When I read it I never imagined that I would be seeing and experiencing New York once or sometimes three times a month myself. It's strange as it's not so much the art or artists in this book but more the the bite sized snippets of art exploration that Matthew gives us.

While I was on my own journey of exploration of searching for art worldwide a year later in 2001 Matthew wrote, 'Art Crazy Nation'. This book is about what happened within the British art scene 5 years following his first book Blimey! My diary as it was became 'Art, Culture Vulture: Travels of an Art Seeker,' without knowing it at the time of writing, 'Art Crazy Nation,' felt like a conformation of what I was trying to do, and in the end it became my response or my answer, following on -the story, but from a different perspective - that of a 20 something female, cabin crew outside of the art-scene.

Thank you Matthew for being such a huge inspiration. Ironically many years later I showed my own artwork with New British Artists at The London Art Fair, after I was taken on as their 'Wild Card'. The ground floor was reserved for 4 of the highest brow galleries, the first and most prominent was Jay Jopling's, White Cube. Everyone else were on a galleried level, higher up The view looking up to the next tier had a wall which showed a memorising abstract painting, delicate and inviting made out of triangles and diamonds, for quite a few years I saw similar versions of this same art work, on that very same wall. Only 15 years later did I come to find out that it was created by husband and wife. duo, Matthew Collings and Emma Biggs.

2000 + 20 Nostalgia, at the end of a Decade.

noreply@blogger.com (Emma Hill) — Mon, 30 Dec 2019 22:33:00 +0000

Evolve

Wow, I'm feeling nostalgic!

Reaching the end of a decade is a perfect time to reflect and think of new beginnings. Above are my last two paintings that mark the end of this decade with a slight shift in my painting. The first is called 'Evolve', Initially I saw this as a tree of life, there are so many complex different mark makings, textures and details that somehow work in harmony. Now in the light, I see a woman's figure, with her arms open wide which feels comforting and reassuring.

Chaos

The second painting, 'Chaos' seems to echo the sentiment of uncertainty within our society at this moment in time. And yet within all the conflict of colour and texture all fighting to speak there is comfort and hope within a suggestion of an embryo form, bringing new life and wonder for all.

The last year has been a huge high but also low in regards to my own painting. I had one of my paintings transformed into three different Liberty fabrics in both Tana Lawn cotton and satin silk, I was part of a TV documentary series for the BBC 'A Day that Changed My Life,' except nothing did really. I had a time of serious doubt and seriously thought I'm never going to paint again. In asking myself what's the point of my painting I guess like most other artists, I simply need to, because if I don't, I get a big open void of emptiness inside. Luckily I'm back on track, painting again, I've found my happy place simply by playing with paint.

So in relation to everyone else what is the point of my painting and what have I got to give or offer?

Not a lot, except maybe I do.

On one day of asking myself why, I got a lovely comment on a painting I had posted which said how much they loved it, but more so how it made them feel, so happy and how it reminded them of a particular time. And then the light sparked! I paint for others because I hope I can give others hope, a feeling of happiness and well being, a painting to dream into. Yes, it's in my bio, but was wonderful to have it confirmed by someone else.

What's my story?

I don't have one.

Wait, maybe I do

And this got me thinking.

In the spaces of time that I haven't been creating, in the need of filling that void, I have found great comfort and goodness, reassurance, hope and happiness in other peoples art. This year I also got my books back after 8 years in storage, a collection of art, design, exhibitions, interiors, travel, philosophy, psychology, fiction, autobiographical, classics, psycho-thiller, and art magazines,

collected worldwide. (Although I threw all the diet books out!)

But also hidden away is my diary from 2000 - 2002, which I called 'Art Culture Vulture: Travels of an Art Seeker.' And a giant stack of random - mixed up stack of photos I took during that time.

Art Culture Vulture

In 2000, at the turn of the Century, I wasn't painting, but to fill the void I made it my mission to seek art and culture globally while I was cabin crew for British Airways. I somehow knew that by educating myself 'on the street' I would find my own way. Initially my writing was a way to document my travels and experiences and while doing so to give an impression of art globally held within a segment of time, from a different perspective, not from an art critic or within the Art establishment but from a 20 something year old who simply loves art.

Looking back at it now, I realise that my thoughts and belief's are very much the same today as they were back then.

Which brings me back to :

What's my story?

It's the same as it has always been: A collection of other peoples stories.

In my searching for art to find my own I wrote:

20/03/03

There are no conclusions to any writing, instead it has become a continuous journey of searching. Globally relationships between societies with cultural differences have embraced each other Worldwide. Many countries became hosts to others, interested in promoting a country that is very different from their own, creating cultural awareness and understanding, connecting all walks of life. As I play catch up on my writing, the evidence of my experiences would indicate that the world has been brought closer together, becoming united. From the people that I met and the increasing development of technology, connecting the remotest of people together would indicate this is becoming easier by the day,

I now spend my time painting my own pictures drawing from inspiration that has come to me while travelling and seeking other people's art.

(And in the un-edited version: : Today the World is in a state of uncertainty as we stand, 'Shoulder to Shoulder,' with America and go to War with Iraq, in an attempt to irradiate Sadam, a war to be fought in order to secure World Peace. Nobody could ever know what will become the consequence of such actions. The future will tell, we can only hope and believe. )

30/12/2019

The above was written in a time when there wasn't any social media or smart phones. My internet connection at home was hopeless, it would take about 15 mins to dial up, so I didn't bother using it. Google and Facebook weren't available until 2004. Back then I traveled, explored and connected with people real time and it was an amazing adventure. As an artist today I feel that maybe that is part of what I am meant to be doing: Interacting, connecting and sharing stories, my own but in doing so, connecting others and sharing their stories.

This blog will take you through my artist journey while sharing art I love. At the core i'll be working through my journal of 20 years ago and then introduce my own art , but also other people's art that has made a great impact on me today.

I'm excited to what 2020 will bring,

In this I hope to share with you a love of art and in doing so share hope and happiness.

My 24 year old self receiving my wings for British Airways who I'm eternally grateful for

My 24 year old self receiving my wings for British Airways who I'm eternally grateful for, my 'Art' education.

Lucid Moonlight, Liquid Sun

These are my first two paintings I made after writing my journal,

represented by New British Artists.

Pink Sock, Soda Pop

The Other Art Fair 2017

noreply@blogger.com (Emma Hill) — Sun, 08 Oct 2017 18:51:00 +0000

Totally inspired by amazing art and meeting the artists, at The Other Art Fair in the Old Truman Brewery. Really itching to paint again, it's been a while. Below are a few works that caught my eye. Follow artist links to see more of their work.

Marit Geraldine Bostad

Above, my favourite in the show.

In detail....

The Lounge, waiting for guest speakers.

Graeme Messer

Will Teather

Victoria Young Jamieson

Alexander Korzer - Robinson

Saatchi Art talking......

E1 Street Art

noreply@blogger.com (Emma Hill) — Sun, 08 Oct 2017 07:13:00 +0000

It's been a long while..........

The Butterfly Lion

noreply@blogger.com (Emma Hill) — Thu, 11 Jun 2015 16:20:00 +0000

So it has been a while...

The best way to get back into painting is working on something that has already been started. So I was lucky, this one was nearly finished. I just doodled a bit on top.

There are a lot of hidden somethings and vague nothings...

And in details:

New Limited Edition Bug Prints ........ Available soon.

noreply@blogger.com (Emma Hill) — Fri, 08 May 2015 11:24:00 +0000

Emma Hill Silk Scarf Selfies!

noreply@blogger.com (Emma Hill) — Mon, 01 Dec 2014 06:50:00 +0000

Decadent Moonshine

I Love You, First Edition

I Love You Inside Out

Shower Me With Love

Painterly Bugs

Lucky 8

Which is your favourite?

The Scarves Have Arrived!! Now Packing To Send Out.

noreply@blogger.com (Emma Hill) — Mon, 01 Dec 2014 06:49:00 +0000

100% Silk, Colour Strike Off.

noreply@blogger.com (Emma Hill) — Sat, 01 Nov 2014 22:03:00 +0000

My Model, Photographer Assistants.

noreply@blogger.com (Emma Hill) — Sat, 01 Nov 2014 22:02:00 +0000

New Painting in Progress

noreply@blogger.com (Emma Hill) — Fri, 03 Oct 2014 18:55:00 +0000

NEW Scarf Designs Available to Order:

noreply@blogger.com (Emma Hill) — Fri, 03 Oct 2014 18:32:00 +0000

All 16 Scarf designs are 100% Crepe de Chine,

135cm x 135cm hand rolled edges, made in UK

Press this link to see fabric colours in detail.

Press this link to see Love Heart Designs in closer detail.

Decadent Moonshine

Lucky 8 Purple

Painterly Bugs

Black Painterly Bugs

I've Got The Love Bug.

Pink, Pale Turquoise and Orange.

Shower Me With Love.

Pink, Pale Turquoise and Orange.

I Love You Inside Out.

Pink, Pale Turquoise and Orange.

I've Got The Love Bug.

Coral Pink, Teal and Raspberry.

Shower Me With Love.

Coral Pink, Teal and Raspberry.

I Love You Inside Out.

Coral Pink, Teal and Raspberry.

I Love You Inside Out.

Blue, White and Red.

I've Got The Love Bug.

Blue, White and Red.

Shower Me With Love.

Blue, White and Red.

I Love You Inside Out.

Black and White with Turquoise.

Shower Me With Love.

Black and White with Turquoise.

I've Got The Love Bug.

Reverse Black and White with Turquoise.

100% Silk Fabric Colour Tests Made in the UK.

noreply@blogger.com (Emma Hill) — Fri, 03 Oct 2014 18:31:00 +0000

Decadent Moonshine, 135cm x135cm Fabric detail below

Lucky 8 Purple, 135cm x135cm Fabric detail below

Dotty Bugs,135cm x135cm Fabric detail below

Love Hearts:
I Love You Inside Out, Shower Me In Love, I've Got The Love Bug:
100% Silk 135cm x 135cm hand rolled edges. Pink, Turquoise and Orange

Love Hearts:
I Love You Inside Out, Shower Me In Love, I've Got The Love Bug:
100% Silk 135cm x 135cm hand rolled edges. Coral Pink, Teal and Rasberry

Love Hearts:
I Love You Inside Out, Shower Me In Love, I've Got The Love Bug:
100% Silk 135cm x 135cm hand rolled edges. Blue, White and Red

Decadent Moonshine's Signature and hidden character.

Lucky 8's Signature and hidden character.

The Beginning of a New Painting

noreply@blogger.com (Emma Hill) — Sat, 26 Jul 2014 10:38:00 +0000

Where is this one going....

Well I'm not sure.

There are the usual bugs and melting flowers. After my last picture I liked the skull so rather than just doing the same again I have chosen a lion skull. To give you a clue on this- just incase it gets lost later, I've added a lion fish - which I do hope gets lost later! The upside down seahorse has appeared, to keep it company. The beauty of this type of painting is that it evolves on it's own with random things appearing and vanishing while painted abstract strokes also get added and taken away.

Decadent Moonshine

noreply@blogger.com (Emma Hill) — Fri, 27 Jun 2014 12:21:00 +0000

Decadent Moonshine

At last I have finished! So now for the next - I'm thinking antlers......?

Below shows the details:

RA's Less Desirables...Is this ART?

noreply@blogger.com (Emma Hill) — Fri, 27 Jun 2014 09:49:00 +0000

Please excuse the crude cropping and the lack of labels.

War : Tim Shaw RA

Bob and Roberta Smith RA

Martin Creed, (£53,036 Edition of 3.)