Kenny in G

Artists go to art school, and learn how to be an artist as defined by the institutions that surround the situation of art. This system of art serves a narrow public, and the artists succeed only within that system, which is alien to the rest of the world who are as capable of receiving the communication of artists, but who are excluded from the first brush stroke to the last nail on the gallery wall; and only included as an extra, because the art isn't made for them, it is made for us; the ones who went to art college. It is sad, because there is a huge invisible fence surrounding these artists. They are in an imagined compound and are imprisoned by their own easy acceptance of the narrow path, the path of most flaccid approbation. On the other side of the fence there is a world where art has always co existed, and is necessary, and is shared by millions. The art world wants to keep the division, to justify it's exclusivity, because the art world depends on pretending it contains an avant garde; whereas it only temporarily can claim any leading edge, most of the avant garde soon leave the art world behind as they realise that it is sterile and backwards. One great myth that artists like to believe is that the world of design feeds off the work of fine artists, whereas, it has always, always, always been the other way round...design necessitates itself, fine art is the unnecessary twin, kept in the attic or the cellar. Personally I can't understand why any artist would expend energy to put their work in an art gallery to be seen by other artists and associated social peers, when there is a huge wide world of possibility to do something necessary with art, to force the encounter with the public beyond the upper middle class art world.


Kenny in G
music by myself and simon woolham, my longtime collaborator.

Thru Metamorphic Rocks

2010 started as busy as 2009 ended, life gets faster and full, no time to waste...

paintings 2009

Spiral Galaxy 28948

E2 E4

Last month I saw a very vivid shooting star with my daughter, we watched it shoot across the southern sky; it was visible for almost 3 seconds and was like a sparkler, flaring at one end, it was reminiscent of medieval representations of comets...it is time to watch the skies again.

The Urge begins. Heaton Moor, Stockport. 1985

The Skull logo on the petrol tank was my first commission, from my friend Jock Anderson in 1985. The first proper painting. Where I learned frustration and fascination, and the edge between different layers. The skull was an agonising project, I was desperate to get it looking good, but I was never satisfied. Even now I can see what I want to change, and I will, the skull is like all painting, unfinished.

The Kubrick Rooms

http://slurl.com/secondlife/Desperation%20Kelly/208/171/28
This place is just perfect.
http://www.youtube.com/watch?v=j2B3Xe2k28c
created by Rumpledink Robbiani

the mustard years: the continuous myth, via imovie and GarageBand

here and now

Decode: Digital Design Sensations - Victoria and Albert Museum