A major event in my artistic life recently has been the re-launch of my website using WordPress, a much more sophisticated content management system than the one I used before. This involves a more direct and simpler presentation that gives prominence to the paintings and drawings without the presence of distracting decorative elements. There are also many improvements in functionality.
For example you can now browse images by such aspects as the year in which they were made or thematic elements like the inclusion of boats, references to seasons of the year etc. The most reliable way to do this is by clicking on one of the words or numbers listed in the Tags list that appears below the Category at lower right of each image page as shown here.
You can also try using the search facility at top right of each page. (Some tag names seem to work better there than others bearing in mind that such searches cover more than just the tags).
Another feature of the new website is the improved handling of images themselves. Hovering over the full frame image on a page may well give you a more close up view depending on the digital resolution of the uploaded photo that I currently have in place for that image. At the moment the most recent work shows this best, for example see https://www.hendersonsmith.co.uk/product/goosewing/ as well as https://www.hendersonsmith.co.uk/product/cornish-wrestling/and https://www.hendersonsmith.co.uk/product/confronting-beast-lafrowda-2017/ . In each case you will notice a + sign at top right of the image as well. Clicking on this gives you a larger view of the whole thing and you may even be able to enlarge this to your screen size further using another + sign at top right of the resulting pop-up. Clicking on the black surround returns you to the page containing all the information about that piece as well as the links to other pages.
Another feature to be found initially on pages about original paintings still available is a view-in-room image which you can access by clicking its thumbnail below the main picture. This means that you no longer have to visit the painting’s page on Artstack to see such a visualisation.
To keep this brief I am not here going to write about the personal symbolism for me of each of the three new paintings whose images you can reach through the links above. Suffice to say that all three spring from my response as an artist to aspects of my current fight with cancer and that further descriptions will appear on their image pages in due course; that too is a useful feature of the new content management system that I intend to make full use of as my website continues to grow.
I’ve arrived at the decision to make 2017 the year of my final Lafrowda Festival Benefit Painting Auction. My reason for this is that a new tradition here in St Columb Major is being launched and I want to support it in a similar way. More than three years after our move here from St Just, home of the Lafrowda Festival, my wife Gabrielle and I are now involved in launching the Our Town St Columb Major Arts and Heritage Project ( https://www.facebook.com/ourtownstcolumb/?view_public_for=150213532127194 ) that aims to support cultural regeneration in this central Cornish community. The project’s first festival is due to take place in August 2017.
That virtual tour itself records the exhibition that the Lafrowda Festival organisers asked me to put on at Cape Cornwall School in St Just in 2012. I subsequently added four more to the collection and each July since our move in 2013 has seen me back in St Just to soak up the excitement of Lafrowda once again. I’m so pleased that other artists still based in St Just have now started to do something similar for Lafrowda and I very much hope that the tradition of supporting that festival will long continue in this way without me. Incidentally, prints of all those earlier Lafrowda paintings can be purchased by following relevant links on their image pages on my website. I’ll continue to donate proceeds from all such sales to Lafrowda Festival.
A trip to London in September 2016 was an inspiration for me in an unexpected way. Naturally the exhibitions I had seen in the capital were stimulating as was the metropolitan environment, so different from Cornwall. In the end however it was a relief to be on the way home and it was pleasant to relax for a while at Paddington Station before catching a late afternoon train to the far west. It was during this ’chill-out time’ that I came to the surprising realisation that Isambard Kingdom Brunel’s engineered girders that make up the station’s overhead canopy could provide my next starting point for a painting and the sweeping arcs of this canopy with light playing through its glass roof-panels were to prove a pleasure to paint once I was back in Cornwall. It was a theme that seemed to demand a soaring vertical format and resolved itself as a kind of colour-chord of rusty reds, sky blues, neutral mixed greys and whites.
In creating the painting I call Sailing home ( https://www.hendersonsmith.co.uk/product/sailing-home/ ) I came to realise that, although the image had come from a recent walk along the banks of the Camel Estuary, what in fact resonated for me here were memories of boyhood holidays along the South Devon coast; my brother and I half living, half imagining Swallows and Amazons type adventures* as our parents and younger sisters looked on from the nearby shore. Here again it was lingering over colour and form that brought this resonance to mind. I’ve aimed to embody my enjoyment of such resonances in the way I’ve painted these pieces. Of course viewers aren’t going to know about such personal references unless, like yourselves they’ve been informed about them. Nevertheless I’m confident that, as long as I can bring my sense of joy into making each painting, people will be able to bring in their own associations to enrich their viewing.
This painting ( https://www.hendersonsmith.co.uk/product/summer-evening-corner-st-columb/ ) grew out of wandering within earshot of one of a series of chamber music evenings given by Harmonimusik, an ensemble that visits us here in St Columb every summer. I’d been able to attend an earlier concert in the series but this time I had been looking after a display of my paintings nearby beforehand and would return there during the interval to meet browsers. The resonance here was clearly related to the music I could distantly hear. In this painting I therefore aimed to let the interlocking planes of stone and hanging slate, gable-ends and roof sections sing together through colour and pattern.
The other day the exhibition I’ve worked towards for at least 18 months came to an end. All except the few sold items had to be carefully packed and transported back to my studio. Once that would have been a bit of an anti-climax. Now, fortunately the show goes on – online. The concept of the collection that emerged so tentatively, as each canvas came into being and added its unique facet to the whole, is still there. You can see what I mean at ( https://www.hendersonsmith.co.uk/exhibitions/work-home-cornwall/ ).
The concept of this particular show was something that embraced and was informed by my experience of having to move out of my home for a few months earlier this year. You can read about that at https://www.hendersonsmith.co.uk/at-work-at-home-in-cornwall/ which was also published in a booklet about the exhibition.
I’ve documented previous exhibitions in a similar way, sometimes with a virtual tour. All can be accessed through the exhibitions page link above.
It can even be the case that a collection gets added to after the event of the exhibition itself. This continues to be the case with the Ten Years of Lafrowda Paintings show that happened in 2012. That’s because four additional paintings so far have been inspired by subsequent versions of the festival. Long may that continue!
For several months I’ve been working on a metre square canvas that was inspired by one of this year’s Lafrowda Day processions in Cornwall’s most westerly town of St Just-Penwith. Mad Aviators at Lafrowda ( https://www.hendersonsmith.co.uk/product/mad-aviators-lafrowda-2016/ ) translates this spectacle into a riot of colour and shape. An apparent biplane, a ’red arrow’ and other miscellaneous forms of aerial transport process past my old studio in St Just-in-Penwith.
A wise artist-mentor I knew in my late teens once came up with the perceptive comment and prediction that although earth-bound in my approach I have a way of sticking at things and that in my painting this would one day lead to things ’taking off’. As I built up the layers of paint that you can see in a short video about the evolution of Mad Aviators at Lafrowda (https://www.facebook.com/lafrowdabenefitauction/videos) that long ago insight came repeatedly to mind. Without me knowing it at the time that’s possibly why this particular Lafrowda image had appealed to me so much on the day of the festival.
Like its predecessors that can all be seen at https://www.hendersonsmith.co.uk/exhibitions/ten-years-lafrowda-paintings-exhibition/ this one will be the subject of a benefit auction, to support the future of this extraordinary community event, that will conclude on the evening of Lafrowda Day in mid July next year (2017). Creativity is sparked in the young by these festivals, cultural pilgrims to Cornwall are drawn in, small local businesses briefly flourish, we celebrate together!
This is a new collection of paintings that Tom has assembled to exhibit in the gallery at the Shire Hall. These canvases are the result of his personal reflections on his sense of home and about work as an influence on the character of landscapes and buildings around him. Both are themes that have been highlighted by our recent experience of living in Cornwall, for Tom and I had to temporarily move out of our home earlier this year and rent a place at the other end of our town for a few months while repairs took place following a serious pipe-leak.
St Columb Major, where we live, is as centrally located as any town in Cornwall. It is Tom’s sense of being at home in these surroundings that comes across in the way he uses the interlocking shapes of buildings in these recent paintings; a feeling of community emerges from the way they fit comfortably together, often highlighted by the warmth or vibrancy of his colour schemes. He picks up on these qualities too in the other towns and villages that we visit and also brings out the harmony that he feels exists between these Cornish houses and their environment.
Industrial landscape is a recent re-discovery for Tom, one that harks back to his West Yorkshire youth. During our recent house repairs, whenever we returned to the studio, we could hear the hum of the industrial fans and dehumidifiers that were drying out our home. This sound resonated for him with memories of the factories where he had worked in his student holidays. He found himself further drawn to the intriguing patterns and shapes of certain industrial buildings. Fascination with their visual rhythms and colour variations became a vehicle for him to express something of the pride in our industrial heritage harboured by many a Cornishman. This he clearly identifies with. Ancient and modern farming methods have also found their way into his recent work.
Tom gave the title ‘Lived-in Landscapes’ to a previous collection that he showed in Bath and Penzance in 2010 and these new paintings pursue that idea more specifically in terms of work and home. As in those previous paintings there is a sense in which he has literally lived-in these compositions, translating the images that sparked them into becoming varied areas of colour, tone and texture. “I find”, he said then, “that lingering over the colour mixtures, the paint layering and the brush or finger marks that I use begins to coax a feeling of life into what I’m doing. This is something that I enjoy and that gradually leads to a sense that the piece I’m working on is beginning to have a life of its own.” In a similar way his recent themes of work and home appear in the style as well as the subject matter of his new paintings: in their rich layering of paint, their working and re-working and in the way he has developed each of them to a point at which we sense the rightness of the way everything fits together and seems to belong. These are landscapes that are lovingly painted by an artist who has come home.
Following the successful conclusion of the Lafrowda Festival Benefit Painting Auction on July 16th 2016 I first of all felt drawn to make some gentle pastoral pieces.
So, back at my Studio after all that excitement, my priority was first of all to ’chill out’. Valley shapes, St Columb came from this impulse in which simple bands of colour, on quite a small scale, interpret the ’soft weather’ of a damp July day here in mid Cornwall.
A little more ambitious, though still using modified bands of colour that step straightforwardly into the landscape space, is Summer storm over Castle An Dinas . A suggestion of movement from right to left became a pre-occupation here, hinting perhaps at the drama of the back-story, the ancient fortified settlement that later served as a roundhead encampment here in a strategically central location within the Duchy.
With the approach of Lafrowda Day 2016 on July 16th I had been recalling the extraordinary impact for me of the afternoon procession on the Lafrowda Day of the previous year. In particular it was the Yellow Submarine advancing down Fore Street in St Just that had appealed to me. What was it about it that had resonated so strongly for me?
Some of you, like me, will remember seeing the original animated film when it was released in 1968 (Director George Dunning, Artistic Director Heinz Edelmann). I was a second year student in Fine Art at Newcastle University at the time. I hitch-hiked down the A1 and M1 one weekend, spent some time in the National Gallery and then went to see the Yellow Submarine film in Leicester Square that evening. Watching the trailer online recently brought it all back! It’s been re-mastered and was re-released in 1999 apparently. The Guardian ran a fascinating article about it just before the re-release ( http://www.theguardian.com/film/2012/nov/19/beatles-yellow-submarine-simpsons-shrek ) which discusses the origins and making of the film. All kinds of interpretations have been brought to it. For me, however, in addition to enabling the Fab Four to save Pepperland through music from the devastating effects of the Blue Meanies, the Yellow submarine is simply a wonderful image of community inclusion.