New map drawings and questioning their purpose

How can a modern map serve a ‘greater spiritual purpose’, rather than being for ‘mere geography’? https://www.amdigital.co.uk/about/blog/item/medieval-world-maps What could a map provide that the viewer/maker might need? Is it that something that can be decided? Or is it decided by the maker because it is what they need? (Which in this case is me!) Why […]

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Reading Susie Hamilton, selected and interviewed by Paul Newman for CBP.

Read the interview here. It is as if you encounter the abstract impact of a painting before you know what it represents. https://www.contemporarybritishpainting.com/susie-hamilton-artist-of-the-month/?fbclid=IwAR1Zd6IWI9NaPWs2DWGKZbizIrf7khhC0t6LKzp4_p8w5Jg1Eh3RJdqWfTE It’s fascinating the way she abstracts a familiar so much that becomes unfamiliar. And an unfamiliar scene we see with fresh eyes, seeing again for the first time the strangeness of the […]

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Researching Old Maps

A really interesting article:https://www.amdigital.co.uk/about/blog/item/medieval-world-mapsHere are some quotes from it: These extremities of the map, past the physical border of the Earth’s disc, represent the spiritual domain. https://www.amdigital.co.uk/about/blog/item/medieval-world-maps The presence of these supernatural events, beings, and locations means that we cannot view the Psalter Map as a purely navigational tool. Nor should we, as it was […]

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Checking In

So hi. It’s been a while since I wrote about how things are going in the studio. This, writing on here, is an integral part of my studio practice, is something I don’t what to let slip away. Thinking through writing = important! Since I last checked in, I’ve finished two new paintings, they are: […]

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Reading Amy Sillman’s Frieze interview Philosophy of Doubt

She has developed a pragmatic philosophy of painting that mobilizes doubt, treating mark-making not as a grand testament to an artist’s skill but as an invitation for us to follow and think alongside her. The curator Helen Molesworth has deemed Sillman’s approach to painting as exemplary of a virtuous ‘unknowability’ and describes this as emblematic […]

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