It's all about colour..........

At the opening of "The Art of Carnival" at the W3 Gallery

 "Carnavale" oil on canvas 131 x 76cm

 I painted "Carnavale" in 2010 at the Hampstead School of Art as part of a pair of paintings - the second an abstract interpretation of the Mona Lisa. Having visited the Dublin City, Hugh Lane Gallery previously, I was struck in awe and heavily influenced by Sean Scully's "Walls of Lights"paintings. In "Carnavale", I explored the boundaries of contrasting, subjued colours and it developed as an expression of the spirit of the annual Venice spectacle.

I am pleased this painting along with six others, have been included in the "Art of Carnival" Exhibition at the W3 Gallery, Acton Town, London. The common denominator to these pieces is the exploration of colour and allowing the colour to dictate the painting process above all other considerations. "Stanza" painted in 2011, was conceived at the Slade School of Art, in which I tried to convey a sense of the rhythm, harmony and freedom expressed in poetry. The rest of the pieces on show were painted during recent lockdowns between 2020 and 2021.

Speaking about colour, Roy Lichenstein said "Colour is crucial in painting, but is very hard to talk about... It depends on too may factors". Colour has a life of it's own. It can set a mood, attract attention or make a statement. It can be used to energise, cool things down or create a feeling of or tranquility. Those visually impaired or blind have a sense of colour.

Matisse once said about painting "Colour helps to express light,

"Untitled" Acrylic on canvas

not the physical phenomenon, but the only light that really exists, that in the artists brain". 

Yes, it's all about colour and many thanks to the W3 Gallery for the opportunity to show these pieces as part of this years "Art of Carnival" Exhibition.

W3 Gallery, 185 High St, Acton, W3 9DJ

opening hours updated weekly on google

Under the Influence of Lockdown

"Under the Influence of Lockdown"  Acrylic on canvas 61x51cm

I am pleased to be showing three pieces at the Acton Open Exhibition, W3 Gallery, from Thursday May 5th. The work selected, all acrylics on canvas have one common denominator - they were painted during the lockdowns of 2020. The painting above appropriately entitled "Under the Influence of Lockdown" was completed during the first, which began in the UK on March 23rd. It had been started a couple of years earlier and left as "unresolved". In one sense, the lockdown forced me to re-visit this piece with heightened focus, given that most other human activities were on hold. I was reminded of how prisoners use art as a means of being in touch with the "outside world" and Van Gogh's productive time at the asylum in Saint-Remy de Provence.

Early stage of re-working the canvas

           The first lockdown lasted until June 23rd. These were times of facing fear and uncertainty. There were no vaccinations or boosters, just an instruction to self isolate and take paracetamol if you had symptoms. We watched the daily updates on TV and every Thursday evening at 8pm we saluted the true heroes - the NHS workers who took enormous risks to their own lives for the sake of others.

Art is a cathartic thing and can take you to places inwardly you cannot physically travel to. It can put you in a state of creative mindfulness. Colour has power and used the right way can provide hope and possibility. And so, art became even more important to me during these periods of lockdown. Like a Joycean experience, it felt like the spirits of both the living and the dead artists came to visit during these times. Looking at this work now, I can feel the immediate influences of Rothko, Scully and Heron. In the worst of circumstances, something kicks us on and the best of humanity shines through. And so, this canvas which lay "unresolved" for a couple of years gained new life and being. "Under the Influence of Lockdown".

In memory of all those we have lost from coronavirus and also to those who risked their own lives in our hospitals, care homes and services for the sake of others.

  "UNDER THE INFLUENCE OF LOCKDOWN", along with these other two works are on show at the W3 GALLERY, ACTON, LONDON W3 9DJ FROM MAY 5TH.

Untitled Acrylic on canvas 30x40cm

Monochrome Acrylic on canvas 28x35cm

 

Something Is Changing

At the opening night of "HARVEST" at the W3 Gallery.

In 2018, I started a small series of paintings on the theme of Climate Change entitled "Something Is Changing". I am pleased that three of these pieces have been selected for this years Harvest Exhibition entitled "GATHER" at the W3 Gallery, Acton Town, London, which opened last month.

"Something is Changing 6"
25x20cm. Acrylic on canvas 2019

Since these works were first completed before the pandemic, we have seen even more extremities in the Global weather structures. Flash floods in New York City, wildfires across West America and Europe, not to mention the melting ice caps on both the North and South Poles have caused catastrophic destruction and loss of human life.

"Something is Changing 1"
21x45cm. Acrylic on canvas 2018

In these abstract works, I use bands of colour to suggest temperature, atmosphere and the changing shape of the landscape. I am influenced by the Colour Field artists such as Mark Rothko, Sean Scully and the St Ives Artists - Patrick Heron and Ben Nicholson. "Something is Changing 4" reflects on Global Warming and was conceived after the highest temperature was recorded on July 25th, 2019 in the UK.  The fifth painting in the series embraces the tragedy of the melting ice caps in the Artic and Antartic. "Something is Changing 6" invites us to look at our relationship with the earth and landscape.



We are all aware and have experienced in one way or another the effect of Global Warming and Climate Change in the past few years. I hope the paintings are a reminder that "Something Is Changing"and inspire us in our own individual ways of our responsibilities.

"GATHER" EXHIBITION IS OPEN

NOW UNTIL OCT 23RD

W3 GALLERY,185 ACTON HIGH ST,

LONDON W3 9DJ

    

                

All the above photographs taken on opening night of "HARVEST" at the W3 Gallery on Sept 16th.

  

Celebrating 60 - "Painting a Life"

In 1986, I visited an interesting exhibition in the Guinness Hop Store in Dublin. It was called "Painting a Life" and it featured the work of Irish artist, Pauline Bewick. The artist, having reached the age of fifty, decided to bring together as many pieces of artwork from early childhood onward.

Going through my own archives recently, I was confronted with a much larger volume of artworks than I had realised- pen and ink drawings, charcoals, pastels, oil and acrylic canvases, paper cut outs, worked over at least four decades. 

"Untitled" paper cut out collage  84 x 60cm 2010

So, can art also provide the function to"paint a life" and form part of a biography? As I went through my storage space and portfolio's, I could see periods of my life unfolding, in the form of buildings, landscapes, figures or colour, performing similar functions to collections of photographs, letters or postcards.

Reaching another decade, is a time to look back and reflect. So, as I turn sixty this month, I have taken on the task of selecting a dozen or so key pieces, which in sequence, act as a kind of autobiography - and in a way........painting my life.

 1. Beginnings: No. 14 Upper Dorset St, Dublin

I grew up in the heart of Dublin city, in the 1960's. My family ran a small grocery shop in Upper Dorset St, which opened seven days a week. Two doors down from where we lived, in N0.12, the playwright Richard Brinsley Sheridan was born. Around the corner, in Parnell Square, I made regular visits to the Hugh Lane Gallery,  which housed everything from Impressionist paintings to the works of Jack B Yeats. Painting and drawing was always my passion as a child. I was fortunate my family gave me the time and encouraged me to explore and experiment freely.

2. Exploring Surrealism: The Garden

I was fortunate to have both a sculptor, - Colm Brennan and a surrealist- Jimmy Burns, as art teachers in secondary school. Both of these, nurtured my talents and at times, departed from the school curriculum, so as I could develop my style and technique further. "The Garden" was completed a few years after leaving school and is a tribute to the artists, writers, philosophers, performers and scientists, I had admired the most. It pursues the theme of mortality and art.                                                      

3. Transcendence

I originally trained in design and was awarded Diploma in Visualising in 1980. Working for advertising agencies, I became influenced by graphic art techniques. I was pleased to have a drawing accepted by the Royal Hibernian Academy in 1985 and thereafter awarded prizes in the CDL National Art Competitions in Ireland.

"Transcendence" combined many images I had come across in finished art manuals, books I had read and reproductions from Durer's etchings. The face of the writer Herman Hesse is featured in the central triangles. This large A1 size drawing explores the question of identity, the trauma of life itself, spirituality and our place in the cosmos.

4. The Cheese Shop, Muswell Hill.

I moved to London in March 1989, two days after my birthday. I soon reconnected with my roots via a series of Celtic paintings and exhibited them at the Crocodile Gallery in Muswell Hill. Living in this quaint part of North London, I became interested in the Edwardian buildings and shop fronts surrounding the Broadway. "The Cheese Shop" is one of a series of paintings, in which, I also made limited edition prints. 

 5. Life Drawing

The traditional way of learning art is that good drawing is also a base to good painting. I was largely a representational artist at the time and my drawing was heavily governed by a graphic art approach, with a strong emphasis on linear accuracy.

I attended life drawing classes in a studio in Crouch End, not far from where I lived. The tutor had a vast knowledge of the anatomy, how to represent the figure through observation and I learned the importance of correct timing. After a lot of practise, I began to loosen up and make suggestions rather than direct representations. This would help me later on, when I journeyed through abstraction.

6. Abstraction

It was at the Hampstead School of Art in 2007 that my art took on a new dimension. I was fortunate to have a Head of Painting, Wynn Jones as tutor. He encouraged me to push my boundaries and in his own words to explore artistic "radicalism". I had already been introduced to Mark Rothko's work from another artist friend and I began to delve into the works of the American Abstractionists. I very quickly arrived at a new place in my development as an artist and became absorbed by the use of abstract colour.

7. St. Ives

I first visited St. Ives, Cornwall in 2006. I was aware that this had become a post war artists colony and had been the base for eminent British artists such as Patrick Heron, Peter Lanyon, Terry Frost and Ben Nicholson. I attended classes at the St. Ives School of Art and learnt about the value of print making as another form of expression. The recently opened Tate St. Ives gallery, premiered the first full retrospective of Roger Hilton " Into Seeing New".  I have returned to St. Ives several times since, always appreciating the surrounding space and light of the landscape. 

8. Slade School -2011

Continuing to experiment, I developed a further variety of techniques at the Slade School of Art, London in 2011. I became interested in the relationship of poetry to visual art and used Japanese Haiku, as a basis for some work. I also developed the continuous line technique, drawing on large sheets of paper placed on the studio floor. These drawings have started to form a base for future paintings and more finished pieces.

9. "Sidney" Understanding Dementia

 I first became exposed to dementia in 2010, after the diagnosis of one of my parents. Seeing how this develops and changes the personality of the individual, is a painful experience. It requires  patience and tender, loving care. After my mother passed in 2o15, I became involved with a dementia charity in North London. "Sidney" is dedicated to one of it's earliest members, who has never been forgotten.

10. Climate Change - "Something is Changing"

My climate change paintings entitled " Something is Changing" were first exhibited at the W3 Gallery, Acton Town, Eco Arts Exhibition in 2018.

To date, I have completed six pieces on the theme of Global warming, using bands of colour to suggest temperature, atmosphere and the changing face of our planet.

I am passionate about our responsibility to take action on climate change. It's consequences will affect the lives of future generations.

 

11. Spirituality "Stations of the Cross"

Faith and spirituality has influenced my work in more recent years. Kandinsky once said " The artist must train not only his eye but also his soul".

I dedicated the oil painting, "Shambo"in 2007 to the slaughtered Hindu bull. "Revelation" reflected on the biblical plight of the Israelites and "Hymn to the Mother of God" was based on a religious piece of music by John Tavener. 

As a Christian, I had seen many contemporary versions of the "Stations of the Cross" but I decided to interpret each step in complete abstraction, avoiding any direct figuration. I completed these acrylic sketches in 2017.

12. Under the Influence of Lockdown 2020

No one, would have expected that 2020, would be the year of the pandemic. We would see significant illness and deaths. We would be asked to confine ourselves to our homes for lengthy periods.

This painting was completed during the first lockdown in London. I was short of materials, so I painted over a previously worked canvas, leaving some of the original marks exposed. Ironically, there is great energy and vibrant colour in this painting. One can almost hear a voice which says "Be creative....... Carry on!" 

I have actually, sometimes given up on art, but it for some reason, has never given up on me. So, sixty years on, I will do my best to "Carry on".

Thanks to my family, many friends, muses, teachers and acquaintances who have supported my artistic endeavors over the years.

The Window at St. Monica's.

The Window at St. Monica's  Tom Cullen Acrylic on canvas 21x15cm 2020

Stain Glass...Memories...Vivid Colours.. Heavenly feelings.. A sense of timelessness.. These were my earliest recollections of the stain glass windows of my local Dominican church in Dublin. I was about two or three years old. Some years later, as a boy I would visit the nearby Hugh Lane Gallery and be absorbed by the work of Harry Clarke and Evie Hone whose work was shown in a darkened room dedicated to artists who worked in the medium of stain glass.

Close up Nativity Window, St Monica's

St. Monica's Church is located in Palmers Green, North London. It was built in 1914 and the stain glass windows were installed in the late 1920's following an anonymous donation. They are the work of Franz Mayer of Munich and London. There are five windows in the nave and an additional in the Sacred Heart Chapel to the left. These depict the life of Jesus from birth to resurrection.

The window nearest to to the front of the church depicts the traditional nativity scene. We see the Holy Family - Mary, Joseph and the baby Jesus surrounded by the Magi and two shepherds. The Magi commonly known as the "Three Wise Men" were noble pilgrims from the East to whom it is said  followed the light of a guiding star, leading them to the place where Jesus was born. In the western churches they are given the names of Melchior, Caspar and Balthazer.

Full view Nativity Window

In recent times, I have sat and spent some time with this particular window.  As an abstract artist, I am pulled in by the vivid colours which have sustained for a hundred years or so. Ultramarine blues, vermillion and deep reds, peppermint greens which contrast with burnt sienna's, lilacs, yellows and oranges painted in a way we can almost touch real gold. Around this nativity scene, I see shepherds, one holding a stick, the other grasping a sheep swung around his neck. An ox and a donkey show their faces, olive trees enhance the background left. To the right, the star of Bethlehem shines brightly with a beam that touches the Magi's halo. We experience this birth with a sense of harmony between humankind and all earthly things.

Detail from The Window At St. Monica's

This year has been far from harmonious for most of us. The contagious and deadly coronavirus has resulted in 61.4 million cases and 1.4 m deaths worldwide to date. We have lived a life of face masks, lockdowns and separation. Families have lost love ones, people have lost jobs. There seemed little hope until last month when three new vaccines were announced.

Above: Detail 

So, when I look through this window at St. Monica's and I see some light shining through, I sense some hope for the future. I started this small acrylic painting in August. Inspired by the mark the window left inside of me, it remained unfinished up to last month. It has several layers underneath. I had given up totally until I decided to mask off  two horizontals and paint the red glaze. As I lifted the masking tape the underlying colours shone through. It had worked and my memory of the window at St. Monica's was complete.

It is worth remembering the Magi quietly avoided Herod on their return when they knew he could not be trusted. The light of the star had got them to their destination and on their return they followed the internal "light" of their spirit.

So, I hope this painting inspired by the window at St. Monica's brings light and hope for better things to come this Christmas.

A Bright Yellow Light

The Yellow Paintings Series No1 Acrylic on Canvas 46x35cm

Somewhere, between last Christmas and the New Year, I came across a programme on BBC Radio 4 called "A Bright Yellow Light". I assumed at this time of year, it was a usual Christmas religious broadcast. But, no, this was something very different. It was an extraordinary interview with Nadim Ednan Laperouse, father of the girl Natasha who had tragically died from an allergic reaction, after eating a sandwich containing sesame seeds at an airport cafe in 2018.

The Yellow Paintings Series No2 

I was familiar with the incident. It had gained widespread media coverage and has culminated in "Natasha's Law" being prepared for legislation next year- which insists that all active ingredients are listed on all pre-packaged food.
However, this was the first time that Natasha's father spoke about a very unusual religious experience which occurred as she passed away. He describes, "A strong soft yellow light appeared, like candle light- really intense but not that your eyes would squint. In great detail these five figures like thin people with features like you or I appeared with wings on their backs. I never saw anything like that in my life, I never expected to. I whooshed them all away. It dawned on me she might die. I shouted "It's not her time!" As I did that, they were gone and Natasha died. There was nothing more that could be done."

The Yellow Paintings Series No3

Nadim Ednan Laperouse goes on to say "Afterwards I know I was meant to see them. I was not a believer at all - someone too full of himself, too arrogant a man really, coming from a business world where people say "I will make myself what I want to be in my own strength". The whole situation showed I was very weak and unable to do anything for my own family. In my lowest moment, that is where God sent the angels for me to see, to tell me that is okay."

He accounts seeing the yellow light a second time - the day Prime Minister, Theresa May mentioned in public his daughters name, Natasha. " I was crying and giving thanks to God. Suddenly the whole room lit up as if someone put the light on, but not normal light. It was this soft yellow light again. It was God saying "I hear you my child". It made me feel , I have a father, someone stronger than me, with no ego like me".

The Yellow Paintings Series No4

It is hard for anyone, even of faith to believe in apparitions like this. But there was something deeply
moving and spiritual in this story which would not leave me after I listened to the interview. From this place, I began the "Yellow Paintings Series" last month. The colour yellow in art often signifies joy, hope and possibility. It symbolises freshness, happiness, positivity and enlightenment. I am reminded of the intense yellows Van Gogh used in his paintings, the transparency of Rothko's colour field paintings and the warmthness of the Eliasson Weather Project - the large sun installation of the Tate Modern in 2003.

The Yellow Paintings Series No5

As I progressed with the series, I became aware the worldwide coronavirus epidemic was no longer "out there" but now on my doorstep here in the UK. Fortunately, during lock down, I had enough paint and canvas in storage to complete these five small pieces. I write this in self isolation now with mild symptoms. There has never been a time where we need hope for the future and to feel there is a "Bright Yellow Light", shining for each one of us. I hope, therefore, the paintings emanate some positive energy for all of us.

In memory of Natasha Ednan Laperouse 2003- 2018

                    

The interview of Nadim Ednan Laperouse by Emily Buchanan is available at:

 www.bbc.co.uk>programmes 
 A Bright Yellow Light - BBC radio 4

                                                   

"Something Is Changing"

"Something is Changing 4"
61x46cm. Acrylic on canvas 2019

"Something is Changing 2"
35x29cm. Acrylic on canvas 2018

 In 2018, I started a small series of paintings on the theme of Climate Change entitled "Something Is Changing". I am pleased that three of these pieces have been selected for this years Harvest Exhibition entitled "GATHER" at the W3 Gallery, Acton Town, London.

"Something is Changing 6"
25x20cm. Acrylic on canvas 2019

Since these works were first completed before the pandemic, we have seen even 

more extremities in the Global weather structures. Flash floods in New York City, wildfires across West America and Europe, not to mention the melting ice caps on both the North and South Poles have caused catastrophic destruction and loss of human life.

"Something is Changing 1"
21x45cm. Acrylic on canvas 2018

In these abstract works, I use bands of colour to suggest temperature, atmosphere and the changing shape of the landscape. I am influenced by the Colour Field artists such as Mark Rothko, Sean Scully and the St Ives Artists - Patrick Heron and Ben Nicholson. "Something is Changing 4" reflects on Global Warming and was conceived after the highest temperature was recorded on July 25th, 2019 in the UK.  The fifth painting in the series embraces the tragedy of the melting ice caps in the Artic and Antartic. "Something is Changing 6" invites us to look at our relationship with the earth and landscape.

"Something is Changing 5"
35x29cm. Acrylic on canvas 2019

We are all aware and have experienced in one way or another the effect of Global Warming and Climate Change in the past few years. I hope the paintings are a reminder and inspire us in our own individual ways of our responsibilities around it. 

Something Is Changing.

"GATHER" EXHIBITION IS OPEN FROM SEPT 16TH TO OCT 23RD.

W3 GALLERY, 185 ACTON HIGH ST,LONDON W3 9DJ.