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By: Peter Wylie
The visionary council housing developments of the 1960's may be far from the decaying estates of today, but can we embrace their utopianism. My paintings deal with the now and the then, the optimism contasting with the look of wear and tear from the years in between. Been getting a lot of good reviews and encouragement...now I have a show to put on in April 2011 at Elevenspitalfields.
# 1 [1 November 2010]
Up to Sheffield for the Documentary Film Festival this Thursday. My paintings got me noticed by a young film maker who wanted to include me in his short on the controversial Robin Hood Gardens Estate. Sadly me painting the picture got edited out but my head fills the screen for a minute or so as I talk and look (told I'm a natural)....looked good on the BFI big screen at the Southbank when it got it's first....they call them gigs, so let's see.
# 2 [9 November 2010]
Well, the Robin Hood Gardens Estate film was very well received. I got praise from the editor too, but that's maybe because she spilled the beans on who chose to send film of my painting to the cutting room floor. Lots of claps, more than the Anselm Keifer, mind you much of the audience had left by then. Spent time on the nearby, and similarly controversial, Park Hill estate. Took many photographs, so could be the next painting.
# 3 [15 November 2010]
Had a phone call on Friday late afternoon...thought it might be one of those annoying ones...instead a very polite voice asked if I was attending tonights Lynn Painter-Stainers Prize PV, Ive got a work included.....well, the angle was, I have been shortlisted, one of five for the final prize, of 13 grand...apparently this means I'll get one thou for being on that shortlist....just moved into a fantastic studio too, so that'll pay for it for best part of this next half year. Funny how good things are just around the corner for me at the moment.
# 4 [27 November 2010]
Went to see my Goldfinger four painting hanging in the Lynn Painter-Stainers Prize at their Guild home yesterday before it transfers to the WH Patterson Gallery in Mayfair. £1,000 prize has come in handy as I've just acquired a new studio in Deptford. Be even better if the Prize Winner sticker persuades someone to part with the money, and buy it, though it is priced far higher than most of the show......heavens know what people expect for their work once the gallery takes their cut, it's almost as though the prices are too low, making my price seem so inflated......doesn't make sense to take the time to execute the work, take it to the handing-in, have it selected and then get less than £500 for it....plenty of hoops to get that far, why expect so little in return?
# 5 [18 September 2011]
Having a go at this again. So much has happened since the last piece. For now, just an invitation to all readers to come along to the Threadneedle Prize 2011, opening on Thursday.
# 6 [20 February 2012]
Painting, Architects and exhibitions have all been the story of the week.....well so much has happened since the last posting. It's almost as though I'm about starting this off again, but too much has happened and too much has been good... though at the moment it feels like holding the line.....so many things I thought were in place as a bridge to the events of next year that were to happen have been delayed.... an exhibition in Mayfair has become a casualty to the whim of the proprietor. and has been put on hold to maybe later in the year. It's been a maintain self-belief and to stay patient period of time...or is it just the cold in studio and grey light of winter????
# 7 [21 February 2012]
Le Corbusier,s build in Briey France.....surrounded by trees....decided to paint an image of it as seen through foliage...the grid od the building against the chaos of leaves....one problem I've created for myself to solve....to depict the trees and to locate the building in the spaces remaining......reverse how it might ordinarily be painted.....getting closer to finish, but tomorrow will be make or break day for it's success or failure...can't wait
# 8 [23 February 2012]
just had a call from the gallery to say that I've been successfull in the Lynn Painters-Stainers Prize 2012 here in London with this painting....more later
# 9 [27 February 2012]
am puzzled that when it comes to open submissions for art exhibitions/competitions there seems to be a development that says you pay your money to submit, and because there is such a large volume of submissions we can't get back to you unless you are successful. It would seem the 'cooler' the show, Whitechapel London Open and John Moore's the more it seems to be the case. So for the former there is this vague mention of 6 weeks of closing date if you haven't heard.....but we pay significant sums of money, the RA Summer Show with huge volumes of submmisions and Lynn Painter-Stainers still sends out a letter to all......so why no consistency and is this a disrespectful move or just a moan?
# 10 [7 March 2012]
It's interesting how being an artist differs from one to the next. In the course of Hockney's recent remarks upon question of authenticity of the artist, the creation by the hand of the artist etc etc, regarding particular conceptual based (Hirst for example) practitioners who use assistants, as though painters in the past didn't, there is a thought that has come to my mind over many years of seeing post-grad shows and minor and major exhibitions of this work.....what do these artists do with their time. I'm constantly asking myself, did this student actually enjoy their degree course, what did they in fact learn....and we know that the answer lies not in acquiring craft skills....which is an okay by me answer....but having seen a recent mini exhibition for William Morris up in Leyton Library east London, a foretast of the re-opening of the Museum in Waltham Forest, an assistant and I discussed his working methods for production, and though he resented the fact his pieces largely sold to the wealthy......he wanted each worker to have a relationship with their work and avoid division of labour production values and the alienation from the work and disengagement it entails...keeping the prices high therefore, and contradiction to his aims, but that makes me wonder what de-crafted and de-skilled artists now do with all their spare time.....and does it make them happier?
Am a painter who has been going around picking up pieces of Le Corbusier flaking paint to put on my paintings.