Claire de Mortimer Painting

I’ve made a Facebook page just for my paintings.

A like, follow and share will be greatly appreciated. Thank you.

https://www.facebook.com/ClairedeMortimerPainting/

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Alice in Wonderland.

How fantastic is this?

I’m working on a set back drop for an Easter themed Alice in Wonderland belly dancing fundraiser for Myton Hospice in Warwickshire, UK.

Here are my prelimary sketches.

On Self Promotion. How do you do it?

On Self Promotion.

I was thinking about a post that I put up on Linkedin yesterday. Re-reading it today, it sounds blunt and lacks any poetry.

So I want to improve how I promote myself. How do you do? I went to a seminar given by Faye Smith at Sheffield Hallam University in Marketing and felt awkward talking about what I’ve accomplished and where my work is now shown. I’ve had similar discussion with Lesley Black. Is it a matter of practise? Or something else?

How do you do it?Christmas card 2016 GSA choir

 

Metaphor as Material. Material as Metaphor. Part II.

In Part I of ‘Metaphor as Material. Material as Metaphor’ I’ve talked about choosing the material of the painting to be the metaphor of the subject matter. In Part I  was using watercolour, ink and gouache on paper with hand made native wood frames to explore the temporally of trees. Not only in the seasons, but within the geopolitics of  Scotland and the early formation of the United Kingdom.

Here, in Part II of ”Metaphor as Material. Material as Metaphor’ I’ve taken that same idea that the materials and the process of making the paintings are in keeping with topic. The topic here is still landscape and Scotland, but on a bigger scale. The large employers in Argyll, Scotland are now the multi-national giants. The land is owned by Trusts and the Hedge funds. Such is the result that no one individual is responsible for the land or for the people who have lived on the land for centuries. As I write this, I am aware of the seduction that making money has, of the challenges that it presents to ones authenticity and being in the world. I  pay into a UK Civil Service pension but have no idea what they money is invested in and how they in turn treat landscapes. I am minded of the anthropologist Michael Taussig essay ‘ The Sun gives without receiving’ in his book
Walter Benjamin’s Grave. (Chicago Press, 2006.)  In this essay the tale of awesomely scaled consumeristic enterprise is endowed with the ability to destroy life as well as bestow riches. Taussig reminds us that it is a materialist knowledge that offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit.

For these painting I’ve worked on a larger scale and with oil paint on aluminium. What better way to express the notions of the multinational than with oil. I used the same process of making the paintings that is analogous to the formation of landscapes. The paintings are one metre squared. The aluminium has a beautiful fine grain and a subtle iridescence. They are seductive and sit somewhere between abstract and expressionist landscape, but take the form of figurative painting.

I have used the same pigments as in Part I ‘Metaphor as Material. Material as Metaphor’ on paper and translated the idea into oil paint. These are turquoise, ultramarine, London red, lemon yellow. I have substituted the watercolour lamp black for oil Madder. Oil paint uses the same chemical pigments to watercolour but oil uses different resin and mediums to suspend the colours. The colours and mediums form sedimentary layers and interact with each other and the aluminium to become something other than what they started as.

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Self Portrait

Taken with the help of the admin office at the Tontine building, Glasgow school of art temporary home after the fire.

 

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Heaven

  

Tulips in Spring Sunshine.

I’m back in Sheffield, South Yorkshire, UK. The sun is shining and the Mistle Thrush is singing.

Glorious.

   
   

Research Directions and Critical Studies: A Video of Research Methodologies and Qualititve Analysis. April 2014

 

https://vimeo.com/91561699

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It is a made thing. Assembled for disparate parts for the occasion of this object.
Connections of the Freudian Field to Philosophy and Popular Culture. Slavoy Zizek. I would like to begin with an almost narristic reflection and again, my claim is that in the same way as the notionof fantasy, the notion of ideology
Here, however, we must avoid a fatal misunderstanding
ideology. There is never pure, naive ideology. Ideology is always a gesture denouncing another position
Here, however, we must avoid a fatal misunderstanding. Insofar as these are the way for a hysterical masks are the way for a woman to captivate the male gaze, the inevitable conclusionseems to be that the feminine secret inaccessible to the male phallic
reason, phallic function, and so on. The complementary conclusion is that, insofar as there is nothing behind the masks woman is subordinated to the phallic function.
level notion. My point is that the way to recognize ideology at work is always through a denunciation of another ideology
male phallic economy – the famous eternally feminine, and so on – consists of a feminine subject that eludes the reign of what is usually referred to as
Here on earth have we no continuing place, as yet,
phallic economy – the famous eternally feminine,
we seek on to come seek one to come
here on earth have we no continuing place on earth,
the exact opposite is true. This is how I read the feminine side of the formulae of sexuation
the reign of the phallus. The same, by the way, as with the anthropological notion of an original matriarchal paradise.
I think that this construction that originally there was a matriarchal paradise gradually replaced by patriarchy is strictly a patriarchal myth
I think the first gesture of true, radical feminism must be to renounce this myth
We shall not all sleep when he cometh
, which from the very beginning served as the support of retroactive legitimization of the male rule.
We shall not all sleep
mm Markets hmm hmm hmm
emerging markets
mp mmp mp p
Em mm em Empolyees
Employee hmmhmm
M My Mi Migrant workers
mm mmm Migrant workers
I want workers. Mmm
Usaben taking about my problems.
First with Kenton and then with Jamie.
It’s not like that.
It is. You know it is
Well it’s not how I see it
But it’s the truth
You and Tony put with me moaning on for months and months
You’re in a different place now with Henry I can see that
You deserve to be able to enjoy all the happiness he is bringing you
Yes I know . We are enjoying him.
But not the exclusion of everything else.
I just felt…
Whoa Whoa wo Whoaw
Sound of old CatrEngine in idyle.
Hip nick spint whyya
To live a lye
You’d be a truck
Wit me going round you
Something like that
Woulda lia beeen
Just to stretch out on the grass as you used to do.
Good to touch.
Good to feel.
Things that cost nothing.
That everyone has.
Birds song
That mean so much.
These things are real.
Things that belong to all the world.
But you.
Saturday evening.
Weekend plans.
Watching the village at work in it’s gardens.
So many people with watering cans.
The Little girls playing Tom Tiddelers’ ground.
You smile as you pass along the sun baked wall.
You settle down on the grass.
An someone fills your glass.
Things that are warm inside.
Water pipe/ Unknown Mother and Child
The only ones worth having.
Reflection of Sequins on door frame
Projection of garden on oil painting of Garden
Sweet love, bitter
11:59
Sound of hollow metal bar being kicked.
Ooh look look look look
Three Inch
Sound of receiving text message to Sony Ericson Phone
You’il have to pour it again so it’s three inch
The chance that’it’ill pay off
Don’t thick for it up
Three states of the thingy
This is what happens we just cover up
IT’s meatta be three inches
I’ts stupid
Every where is different
Leeds is different to Halifax is different where we’re from
Sound of metal scrapping along tarmac.
In December 1963 Donald Judd’s one person show at the Green Gallery opened in New York.
The exhibition consisted of nine works (cough) carefully arranged around the exhibition space.
One of these works untitled, was a rectangular plywood box with an iron pipe cut into the top surface, approximately two thirds to one side
The dimensions of the box 19 1/2 x 45 x 30 ½ inches.
And it’s surface was covered in Cadmium Rolyte Oil Paint.
Two years later in 1965 in the essay specific objects, Judd would write, have of the best work in the last few years has been neither painting nor sculpture.
Of colour he said I like red. And I like the quality of Cadmium red light.
If you paint something black or any dark colour you can’t tell what it’s edges are like.
If you paint it white it seems small and curious
And red other than a grey of that family
Seem to be the only colour that really make an object Sharp.
Claire de Mortimer