West Midlands Open – Grins & Growls
Oh, The grand old Duke of York,
He had ten thousand men,
He walked them up to the top of the hill,
And he walked them down again.
And when they were up, they were up,
And when they were down, they were down,
And when they were only half way up,
They were neither up nor down.
Just like the grand old Duke and his men, we all face our ups and downs in life. Now unlike the Duke and his men, I rarely get to enjoy the middle ground, instead I have the unenviable ability to sublimate directly from high to low and back again in a heartbeat, completely skipping out the wonderful moment of being centred and experiencing serenity, harmony and tranquillity. So I was intrigued to explore how our very own, 2014 West Midlands Open, artists handled their own personal highs and lows and how they balanced them whilst creating their various works.
Robert Neil indulged my intrigue by meeting up with me to discuss his entry for the 2014 WMO ‘John’ and some of his other inspirational works.
Robert is an inspiration in himself, he comes across as a very pragmatic and rational soul who radiates confidence and belief in himself but in an extremely demure, charismatic, convivial and natural way; and this is reflected in his approach to his art.
Robert explains that his own journey of creating art has been one of growing confidence and comprehension in his work. Initially Robert found that he would accept more of his work because it was nice rather than right, but as his confidence and capabilities grew, he found he was able to sacrifice works that were not quite right for him. Robert admits that at the start it was difficult to make these sacrifices but goes on to enlighten me that his growing confidence enabled him to appreciate when to stop, when to go back and when to ‘scrap.’ Robert kindly laughs in endorsement of my paraphrasing him when I say, ‘so it’s like when you are less experienced; you don’t know what you don’t know.’ ‘Yes’ he retorts, ‘You have to forget about moments that have not gone right.’ ‘I used to get frustrated when things were not going to plan but now I am more confident to turn it against the wall and come back to it.’ I am intrigued and ask Robert if he literally ‘turns his art against the wall’? ‘Yes.’ He says. ‘I really do turn it against the wall. Actually, I now prefer to turn it upside down to get a different perspective, I can still see the general composition but not the detail, that way I can look at it as a whole and focus on the overall colour, texture and balance.’
Conrad Pack (‘9 collages’) agrees, ‘If I get stuck on a piece I just walk away, I will leave it alone and go and read.’ ‘It makes it worse if you keep on trying. Leave it and come back to it, then it will come around naturally.’ Conrad continues in his astuteness ‘Don’t stress if it goes wrong, if you do it all goes to pot!’ ‘You can get lost in your own anger and it becomes a vicious circle if you keep on trying.’ Conrad explains that he doesn’t work on just one piece at a time so if one piece is not working he leaves it and works on something else. That way he gets inspiration to perceive a different direction or angle to take and returns to it.
Enlightening me with her own personal outlook, Barbara Gibson (‘Streets of my City #1’) divulges, ‘What frustrates me the most is when I see others copying my work or ideas. It has happened to me a few times and it was not actually something I enjoyed.’ However Barbara still manages to find consolation in this. ‘It is not something that makes me feel angry, it is rather something I take into consideration. I can understand that my work has inspired others and even though I do not necessarily like to see my work being copied, I always take it as something that allows me think of new and improved ways in that my own work could be done and presented.’
Finally, Nita Newman (‘Far above the clouds #1’) affably amuses me when she discloses that she finds it worse when people like her work that she didn’t think was any good! Even with Nita’s intense passion for her work, she does sometimes resort to, also, ‘dumping’ some work she is not entirely happy with. Nita, however, is still valiant and prepared to show her works she is not fully happy with, just to get a reaction and feedback, facilitating her development and next step forward. Now that, I feel, is inspired! Nita enthuses that her work ‘feels like a friend or pet’ and she knows when to keep going in order to get it right. When it’s right, Nita knows it is right by illuminating expressively, ‘You just know when it is right, you just get a feeling, you know, that moment you go, woo woo!’
So it appears that our 2014 WMO artists, at least the ones I have spoken to, have an innate aptitude and talent for being pragmatic and level-headed when it comes to their emotions regarding their work.
These artists are successful in consciously vetoing their vexes and focusing on the practical and positive. They rebuff the path of despair and carve a new course to success. They recognise their frustrations and use this as nourishment to fruit new opportunities.
Perhaps if I spend long enough with these artists, I can climb that peak of potential along with them and absorb some of this optimistic sanguinity through osmosis! Now where are my boots?!…
By PDB Mellanby
(Phil is a volunteer with Birmingham Museums Trust as a fund raiser and house guide at Aston Hall. He has a penchant for West Midlands arts and heritage.)
The West Midlands Open exhibitions is free to visit and is on from 25th October – 15th February 2015 at Birmingham Museum and Art Gallery, more information: http://www.bmag.org.uk/events?id=3425