Picture noise

Dropped into Waitrose today to buy a few treat items and took part in a survey about their new posters. I had to confess that I had not noticed a single one. Further reflection on the bus home was that technology has allowed the production of pictures in fantastic numbers but resulting in a pollution of anodyne public images in our world today.

It takes an exceptional image to stop me in my tracks ... the rest are background noise.

Visiting 'The Oxford Open'

Sunday lunch time and the 'Modern Art Oxford' gallery was heaving. A lot of people were interested in seeing this eclectic exhibition. I saw on the 'Review Board' in the restaurant that the local papers have publicized the exhibition and its' events but the national papers have given this exhibition a miss.

I think considering how very over subscribed it was the hanging was sympathetic. I was peeved to note that when it suited them they allowed some over-sized pieces. The catalogue only gave the artist's name and that of the work; I would have liked to have the media included. The quality of work, generally, was very good but not brilliant. I have done better but I am still thrilled to show my work. I hope to have another opportunity in the future.

Stella Vine

Went to see the Stella Vine exhibition at Modern Art Oxford
having only ever seen reproductions was prepared to scoff. I was surprised to find that some of the stuff was very powerful but most of it was the sort of thing I painted when I was 16 years old. She may improve as her career develops but for the moment I am the better painter!

Arts Council Debate

Arts Council England have produced an on-line debate/consultation on the future of public investment in the "ARTS".

I have, in the past, done the research,found subsidery sources of support/income, written a proposal for funding for a project and recieved "advice" from the 'ARC + Advise' advisor at OVADA in Oxford. The bottom line was that I had no status as an artist so would be unlikely to receive any significant funds for my work. So I have gone back to producing work which has a realistic chance of paying for itself direstly.

Lindesay Irvine asks in The Guardian's art blog:

"So why is ACE so keen to find out what the broader public wants? It may be that this is a more or less cosmetic exercise, designed to make an inescapably elitist organisation appear "accountable". The press officer I spoke to was keen to stress that this was a "deliberative" exercise, that other "stakeholders" such as arts professionals will also be consulted, and that it's way too early to say exactly how much influence public opinion will be given."

I feel that, for good or bad, judge the work not the artist.