Creative imbalance and making the most of what you’ve got.

Small, but with lots of potential.

Small, but with lots of potential.

It is the only word I’ve managed to come up with in trying to describe what’s been going on of late, imbalance. I’ve got a fair idea about where it’s come from and it has taken me a while to get to grips with it.

Rather than castigate myself for allowing it to happen, it has been much easier to recognise it for what it is and deal with it through action and a little reasoning. This imbalance stems from a shift in my working life over the last few months, and hence my creative output, which I’d not accounted for. Although my role is only part time, it has involved a lot of idea generation and thus a massive amount of drawing and sketching. Big projects, which require a lot of this kind of thing in their early stages, need sustained creative input and masses of ideas. It’s exhausting, creatively and physically. Where I went wrong is not remembering this to be the case and failing to keep any creative energy in reserve for my own stuff once I returned home. So it’s been difficult to draw, but more to the point, it’s been hard to generate ideas.

Shed_2

I’m showing you a couple of pictures of my garden shed, here in my back yard, as it has proved to be the answer to coping with this imbalance. Rather than spend any more time staring at blank sheets of paper the solution lay in getting out there and making something, turning raw materials into something else, using some tools and getting my hands dirty.

 

There had been a plan in the back of my mind for a while to refresh the little 250cc motorcycle that I’d modified some years ago when I started this blog. Over the years, as the miles have racked up, it has suffered the usual knocks and scrapes that these things are victim to, and overall the finish was starting to look very tired. I wanted to give it a freshen up, and make some changes to the overall design that I’d not got right first time around. So what to do for a making project was all ready and waiting, I just had to start. Before now I have relied on using workshop space owned by other people, this time around I didn’t have that option so my little shed was going to need to be the work space that I could use. As you can see it’s a small building with very limited floor area, but it does have an electricity supply, a big light on the rafters  and a work bench across one end. It houses all of my various tools, materials and other useful stuff accumulated over years of working as a prototype builder and modelmaker. Being of a sturdy design and construction it allows all manner of things to be hung from the walls, freeing up floor area and permitting at least a modicum of organisation. I don’t own any large machine tools, I’d need a bigger shed if I did, so most of the work would be done with hand and power tools with my trusty old Black and Decker Workmate acting as a secondary work bench. The only thing I can’t, and likely won’t do in there is spray paint, that will have to happen elsewhere. The shed was here in the garden when we moved into the house and I’ve always wanted to use it as a making space. now was my chance to put that thought into practice.

It just about fits in.

It just about fits in.

The third shot shows the bike pretty much in the shed. I didn’t need it completely inside, just enough to get some soldering done on the electrical loom, but it meant that I could work on it in there if the weather took a turn for the worse. By being methodical and tidying up as I went it was utterly surprising what I managed to do in this small space. Most of us work in some kind of organised chaos. Some cope well the more chaotic things are, others less, and over the years my natural inclination has veered toward the organised rather than the chaotic and this is a boon when working in a confined space. Having everything to hand helps too but, the order one maintains around oneself really is reflected in how one deals mentally with the making process.

The fruits of my labours are in the next post.

 

No.8 and a trip to the Tate.

Matchless cafe racer by Jon Tremlett

This is number eight, the penultimate picture in this series and for me one of the best ones. Finding that the limits of my embedded knowledge were being reached I had resorted to flicking through one of the many reference books here in an attempt to top it up a bit. I find with great books that each different viewing often reveals a new set of surprises. In this case a lovely picture of an old Matchless jumped off the page and at once demanded to serve as inspiration for this picture. As with all these drawings the final picture is never really a true rendition of the reference, they all get pushed and pulled about a fair bit to suit the original vision, but this one’s got a bit more truth behind it than some. One detail in particular stands out, and is one that reveals how an utterly simple approach can be just as effective as a far more complex solution to the same problem. The simple curving shadow line along the fuel tank, to delineate reflection, very clearly says “polished metal” without the need to apply any more shapes, shadows or colour areas. A triumph of less being more, and oh so simple.

 

Yesterday I was lucky enough to get a ticket to the Roy Lichtenstein retrospective currently running at the Tate Modern Gallery in London. Although a fan of various aspects of Pop Art, I’d never really considered any of his work other than the large comic format pictures repeatedly paraded in front of us like Whaam! So it was very interesting to see a much more varied collection of pictures across a number of periods which followed the development of his unique style and approach. From his early experiments with abstract expressionism, through flat graphic interpretations of objects and on to landscapes inspired by chinese scroll paintings, with a fair bit of work in between, it proved an enlightening journey through the canon of an artist many might dismiss as a one trick pony. The landscapes and seascapes in particular, were both surprising and stunning, his Benday dot screen technique combined with some fantastically bold colours producing images that were both strangely mechanical and oddly dreamy at the same time. If you are  anywhere near London and the show is still running I would recommend going to see it. Rumours of ticket non-availability proved wrong, we got some without any problems. It’s on until May 27th.