10 Sep 2016
Among George’s large quiver of quotable aphorisms is the critical perspective “he (some artist) may be hitting bull’s eyes, but he’s not standing back from the dartboard”.
Haynes, in a move possibly surprising to some, has in the current work stepped further back from the dartboard than we’ve seen in some time… but is spearing as many bulls as ever, probably more. The degree of difficulty in these works won’t be apparent to all, but if you’ve spent any time in that particular bull ring, hoping you’re waving the right coloured cape, you’ll know how much so this is the case.
Ask Vermeer how hard it is to set up the intervals when light and shade cross a richly coloured brocade curtain. Visit The Art of Painting (The Artist in His Studio) Ca. 1665. This is an exercise the complexity of which has its counterpart right across this show, when a postulated shaft of light, illuminates a postulated, already complex, “existing” two-dimensional picture of a three dimensional space. Additionally complex, inasmuch as Haynes is not merely faithfully recording, but on the basis of a profound understanding of exactly how light does illuminate… positing these phenomena in imagined scenarios… when not writing abstract sonnets on that multi dimensional chromatic keyboard. The variables that provide the dimensions to this instrument are too numerous to mention but start with tone, temperature, saturation, hue, depth of field, reflection, refraction, transmission, mark size/angle, opacity, edge quality, weight, taper and 42 more. I mention them merely as a reminder of what is actually involved in virtuosity.
I think JS Bach would be impressed. Fashion a cloth from a fully saturated hue. Bring on the counterpoint. Thread it with waves of programmatic chromatic modulations, key changes, changes of register and syncopating stripes. The whole time keep an overall intended flavour/character/gender in mind. Take this fabric and expose it to an imagined light that has been shaped by an imagined portal. Or… pleat that invented topography and go figure what happens next to the incoming light rays, if it is 5pm and there is a sea breeze. Then reverse back over every pixel and tweak where necessary so that the whole doesn’t just sit… but sings. The Haynes hills too, are clad with such awesome considerations. You can almost watch in real time as they crystallise into orchestrations.
Where the game is at its most complex - and rewards really sustained viewing (for me anyway) - is not in the lyrical picturing but in the freer purely instrumental aspects, in what might have been once thought of as the abstract elements.
Meanwhile George’s flamethrower is cremating what’s left of the former distinction between the abstract and the objective (or whatever you prefer to have as its antagonist). I can see the light from the fire now, illuminating a brocade curtain. I see George squinting, musing, nutting it out, proposing a fresh game and inventing in front of nature.
06 Sep 2016
GEORGE’S SPEECH AT EXHIBITION OPENING
Thanks, Ken, studio assistant extraordinaire.
Thanks Jane, and thank you all for coming to Linton &Kay’s this afternoon.
I feel so privileged in being supported in doing what I love doing best.
You allow me to slog away, day after day, painting, painting.
Being an only child reared in isolated parts of Kenya ( my father was a doctor with the Colonial Medical Service ), left very much to my own devices, I became a day-dreamer. -
I could drift around mentally doodling all day, and this, coupled with Pencil and Paper the only toys available in War Time Kenya - well, one thing led to another, and here I am.
For me, oil paint is the day-dreamers’ medium.
It invites a rational process of this-goes-onto-that-as-that-goes-onto-this.
It allows for over-painting and obliteration.
It records its own process - tells you how it was made.
It is the image of a day-dream.
Now just as each mark in a painting is coloured by all the marks that went before,
so it is with this exhibition - it is hung chronologically, and I hope you see how each painting is the product of its predecessor, and leads on to the next.
For instance, NightFighter and BudBurst - the stridency of one generating the fragility of the other; looking at them now I think there is some masculine / feminine thing going on.....
What do you think?
I have been asked to do another floor talk ( date to be advised ) so if you would like to chew the fat on these matters, you would be most welcome.
Well, thanks again for coming.
Enjoy the show.
22 Aug 2016
My next exhibition will be AUGUST 22nd 2016 until SEPTEMBER 22nd 2016
Linton & Kay Galleries | Perth
The Old Perth Technical School
Level 1 / 137 St Georges Terrace
Perth WA 6000
Telephone +61 8 6465 4314
31 Jul 2016
I was tempted to call this exhibition ‘Pictures of Paintings’; a simple title. Because what I find I am doing is painting a picture of a painting, seen, as it were, on a wall, and illuminated by an invented light, be it a beam, ray, or shaft, or glow. Some window-scapes, some abstract paintings, some landscape paintings. So my playground is to paint the light emanating from the picture ( painting ) Bathed in the light illuminating the painting ( picture ). Light of a certain temperature and tone. On the other hand, I could have called the exhibition ‘Paintings of Pictures’, So there you have it Pictures of Paintings, Paintings of Pictures. I will call it TWO YEARSOF PAINTING and leave it at that. I hope you will enjoy looking at the works as much as I have enjoyed painting them.
09 Jul 2015
This exhibition is in three sections - Window paintings; Criss/Cross paintings and The Great Divide landscapes. But they all have one thing in common. I try to describe it as “this is to that as that is to this” (which is perhaps more bewildering than it is enlightening).
ZUYTDORP SHAFT oil on canvas 100 x 120 cm
It is about creating a harmony that gives a unity, a coherence to the canvas. A harmony of colour, tone and temperature. If I want to paint a patch of orange beside a patch of green then the shadow colours (mars violet and indigo) must have the same relationship to one another as the lit colours. To further complicate matters I have ‘illuminated’ these paintings of pictures as if in a fictitious light. In other words”this is to that as that is to this”.
WINDOW SERIES #1 gouache 23 x 31cm
WINDOW LIGHT oil on canvas 130 x 150cm
A palimpsest is/are the traces of an erased or obliterated image.
It is evidence of what went on before.
Auerbach is the master of this - he continually creates and obliterates.
The accumulation of all this gives the painting a patina of effort - grunt - a certain authority.
I love to look at it.
To quote Auerbach
“ The game is such - you can only make a good painting by destroying a good painting.”
The real subject of the painting is the work one puts into it.
The more one knows how a painting will turn out the more likely it is to look designed.
CRISS CROSS / OVER SQUARE SERIES
With these paintings I have limited myself to a ten percent over square format.
This allows one to hang the painting on the diagonal or the square and any which way up.
The second limitation was to stick with the crosslight composition,
and I suppose the third stricture was never to repeat myself.
And then I felt free to go - this is the chess board on which we play.
The colours are the pieces, and rules apply.
The game is on.
As the series developed it became more complex - requiring obliterations and alterations.
These most recent paintings are just off/over square - 100 x 110cm.
And can be hung in any direction, including the diagonal.
TILT BEAM oil on canvas 100x 120 cm
CHROMA ZED GREEN oil on canvas 100 x 110 cm
oil on canvas 65 x 70 cm
oil on canvas 70 x 77 cm
WINDOW SERIES #1 gouache 23 x 31cm
WINDOW SERIES #2 gouache 23 x 31cm
WINDOW SERIES #3 gouache 23 x 31cm
WINDOW LIGHT oil on canvas 130 x 150cm
SUMMER SIESTA #2. oil on canvas,100 x 120 cm
SUMMER SIESTA #3. oil on canvas. 100 x 120 cm
SUMMER SIESTA #1.oil on canvas. 100 x 120 cm
SUMMER SIESTA #4. oil on canvas. 100 x 120 cm
FULL FATHOM FIVE oil on canvas 100x 120 cm
CORTONA | oil on canvas | 135 x 152 cm | ⭕️
28 Jun 2015
THIS LAST EXHIBITION WAS SOLD OUT WITHIN AN HOUR OF OPENING.
Thank you everyone
14 Apr 2015
Would the person who spoke to George on the phone, last week, about purchasing COMMONDALE, please contact us by email?
22 Mar 2015
16 Mar 2015
LUCCA | charcoal, 23 x 31cm |
STROLLING THE WALLS, LUCCA | charcoal, 23 x 31cm |
EMPIRE WATER TOWER, LUCCA | charcoal, 23 x 31cm |
FAUX TUDOR | gouache, 23 x 31cm | $820
TATA STEEL, TEESIDE | gouache, 23 x 31cm |
KNAVESMIRE WOOD | gouache, 23 x 31cm |
KITCHEN, COPMANTHORPE III | gouache, 23 x 31cm |
KITCHEN I | gouache, 23 x 31cm |
COMMONDALE | gouache, 23 x 31cm |
MIDSUMMER EVENING, COPMANTHORPE | gouache, 23 x 31cm |
HARVEST, COLTON | gouache, 23 x 31cm |
THE WOLD III | gouache, 23 x 31cm |
HARVEST NEAR TADCASTER | gouache, 23 x 31cm |
WHEAT - APPLETON ROEBUCK | gouache, 23 x 31cm |
NEAR BOLTON PERCY | gouache, 23 x 31cm |
THE WOLD II | gouache, 23 x 31cm |
THE WOLD I | gouache, 23 x 31cm |
NEAR NEWTON LE WILLOWS | gouache, 23 x 31cm |
ZUMMER | gouache, 23 x 31cm |
TOWARDS PONTEFRACT | gouache, 23 x 31cm |
BY ASKHAM BRYAN | gouache 31 x 23cm |
TOO BRIGHT TOO EARLY | gouache 31 x 23cm |
NORMANBY AFTER THE STORM | gouache 23 x 31cm |
BACK STREETS OF LUCCA | gouache 23 x 31cm |
WHITBY ABBEY | gouache 23 x 31cm |
18 Mar 2014
30 Apr 2013
30 Apr 2013