The Drawing above : 'Rescue' - Greece Landings / Marley tip and Leashaw reservoir amalgam drawing (drawn in aid of Unicef for the exhibition)

The following text is an extract from an interview and discussion on Drawing. All exhibition sales were In aid of UNICEF: to raise awareness and funds for displaced unaccompanied refugee children in Europe(sincere thanks to Simon Alvey at 'In the Flow' for the time, being and space). 

Do you try to create imagined worlds 
in your work ? 

MM; Well firstly I think Cocteau was right when he said "Asking an artist to talk about his work is like asking a plant to discuss horticulture." Articulating any creative practice in words is never easy and yet we have to discuss it because it is such a deep and fascinating practice. I honestly find it much easier to talk about others Artists work and discuss my students work than my own output. Yet I am fascinated by the creative process which is why I love teaching this subject so much - so yes, I will happily talk about visual language and my inspirations for drawing but I will do it with my Academics hat on, as that will help me be more objective.

To try to answer that first question I'd say .... no, not as such - to me imagined worlds has certain connotations of being escapist, or 'made up' and that’s not what drawing is about for me – for me it’s about engaging rather than escaping – but yes I do propose spaces and alternative realities - but by nature they are quite serious and become quite real once they exist, once they are formed as it were - so they are not 'imaginary' but important for me beyond 'invention'. 

Drawing expresses thoughts and feelings like any voice or instrument of music - so drawing is a scientific and visual instrument too and of course a way of mapping feeling and memory, expressing strengths and vulnerabilities. 

Poet Philip Larkin said “You must realize I’ve never had ‘ideas’ about poetry. To me it’s always been a personal, almost physical release or solution to a complex pressure of needs—wanting to create, to justify, to praise, to explain, to externalize, depending on the circumstances.”

Painting from Survivors Emigre series 'The Sagas Of Families - 
often now scattered ("Wir pflügen und wir streuen" ) 

Lanugo Fur : The Baby 

Gentle heart
Knocks at ribs cage
To run – and too soon
Yesterday has
Become tomorrow

Hold them
Robust for
Times Calculus
Runs away

Old Heart
Hammered from a
Single sheet of bronze

Yesterday has become tomorrow

Yet when you and I are ­together
It will always be


Printmaking frottage Palimpsests ; Ongoing 'Migrations' series ; migration across the bering straits, across europe , migrations from kimberworth smog to brahms - from the south then to the north - the sagas of families - often now scattered ("Wir pflügen und wir streuen" ) Drawn Songs: Torch songs / Protest songs all

I think many of us make our most creative work when we are on the edge of something awkward - when the heart is up and there is something 'the matter' - an atmosphere going on inside the chest not just the head  - otherwise it can become too calculated, too logical, self-conscious and faux - or what ever you wish to call it. Too deliberate. 

I think it's far better to be working laterally, off centre,'off the hip'  - working by heart, ....half knowing and half in the dark. I don't think you can teach it  - some people are spontaneous and trust their own intuition while others cant. Obviously I encourage it in people. It is clearly not an appropriate approach for a surgeon or a technician etc but for any Artist or performer who wants to interpret feeling or investigate the edges of things - then yes. 

Composing anything like a song, poem, dance or a drawing is not seen as an intellectual or cerebral act but more an intuitive, emotional one - be it unconscious or conscious. Jorge Luis Borges said ‘Poetry springs from something deeper; it’s beyond intelligence’ – and he’s not wrong. Analysis can kill the very nature of intuition - of what comes naturally or intuitively. The best drawings I have seen by others or made myself are often spontaneous with no initial harsh design intention - there is thought and context but no serious pre meditation or planning at the outset. My approach is usually a confluence of emotive contexts that 'entangle' and evolve as I work the drawing toward an ending. I wont 'improve' it afterwards for example. 

I think on some level, you do your best things when you're a little off-balance, a little scared. You've got to work from mystery, from wonder, from not knowing. Willem Dafoe

We know very little of the mind, especially the complexity of the brains binding factor and the hippocampus. It is of course mapped out to a point by MRI scans and the microscope but that is a technical biological insight. 

Neurologists do not know if the mind 'records' everything ? We have no hard proof of where memory is stored in the hippocampus. 

The mind must also edit the 'whole' in order for us to survive the barrage that our senses endure. The common comparison of the human mind to a computer is misleading. Its far from just a processing device - nor is the heart just a pump. 

'My Heart is a thousand years old - I am not like other people' Poet : Charles Bukowski

Drawings below from Ballads and Plays series - torch songs 'Glove and Feather'

Coincidences arise and occur when I am making work in that mind set. 
These are of course my own perceptions and connections - but they are beyond my rational day to day understanding. Despite neurological science - we simply don't know as yet how the Brain manifests 'Consciousness'. It is something that current science has not fathomed. Diagnostic research on phenomena, pre cognition, and even remote viewing has been on going for years. Much of these observable phenomena are claimed by science to be neurological 'pattern recognition' - yet perhaps it is not Twilight Zone style ESP but something very natural to our perceptive ability and atypically 'humanist' -and of the human - of the brain ? 
The Scottish Lady who can detect Parkinsons disease even on undiagnosed patients via her sense of smell, is a very real, recent example of extraordinary perception- and the late Dr Oliver Sachs work and his books are evidence of other beautiful rarities. There is also an excellent research duo, both Psychologists, working at Leeds Becket University on how the mind and brain perceive. 
Extra sensory perception has been used by the establishment in many instances with success - it is not widely accepted nor reported for it is something science nor academia have empirically equated. 

Ongoing 'Migrations' drawing series ; migration across the bering straits, across europe , migrations from kimberworth smog to brahms - from the south then to the north - the sagas of families - often now scattered ("Wir pflügen und wir streuen" ) Drawn Songs: Torch songs / Protest songs all

I see the sunstruck forest,
In green it stands complete.
There soon we all are going,
The summertime to meet."

Carmina burana manuscript

Question: You stated earlier that when you draw - it is a confluence of emotive contexts that 'entangle' and evolve as you work the drawing'' what are these things - what do you mean? 

''I prefer a confluence of emotive contexts that 'entangle' and evolve as I work the drawing toward an ending.''

The drawings are a mix of personal experiences, matters, landscapes and anthropological things that I am interested in. Of course they are about lots of special things to me - things that matter as I say. It is a populated landscape - a kind of devotional remembrance at times - of important things. Its a blend of the present mixed with the past - a combination of non linear times where timescales often merge – it often involves specific unresolved times that I go back and observe from the inside and get a drawing from. I do a lot of reading of my own wider interests and this feeds the past - and so the work is current, contemporary and not just reflective. If I write one month then that also enables a visual investigation the following month etcI go in, say once a day, to participate in person. Its committed rigorous work, mentally and physically (you can stand hunched up for hours in one spot - it can be prolific). At other times, when I'm not drawing then I’m still thinking about this space, it’s life forms and events. Some places and previous encounters we experience are very intensive and become preserved in the mind. A sort of Cryogenic memory I call it - that I can defrost and re-enter. It is a canning of events (canonising even) like a special 'reserve'. I can go and take the lid off and observe, get involved and stir it. Revisit the Field.
Revisit the Known and the not known 

"Every sensitive person carries in himself old cities enclosed by ancient walls" Robert Walser

Though rooted in constant themes, these types of drawings are never that pre-planned, so the result is usually a surprise. Like film stills or out takes from a surreal play or alternative universe that’s always ‘switched on’ - I visit - I  go in and fish and see what comes up - but like all new things they are an amalgam - the sum of many parts. I dont have an audience in mind when I work as I make the drawings for myself - but it is pleasing when others relate with the work and wish to show it or hang it.

below: Künstlerroman series under the big hill 10 x 8 Oil on Board 2015

Hunter Gatherer - Emigrants - Emigre series

Hunter Gatherer - Emigrants - Emigre series

Photograph above is a panel from 'Limen' series - 20 photographs of The West Riding and a blog which was shown at UWE gallery Bristol - in my 2008 exhibition exploring concepts of 'home' in the exhibition by 'Time and Being' collective curated by MM 

I grew up amidst semi rural / urban natural history - a road called 'muck road' but we had Red Admirals and Cuckoo Spit everywhere in June – and also lots of Skinheads – a malevolence ... and so it goes – and so we soak it up - the life and death, in sickness and in health, the ‘Birds and the Bees’, the Pond life. 

Early years are a different biological stage where the mind absorbs information and sensations at a far higher rate than in maturity. It is a real space that we all know – and one we all inhabit and revisit. It was a volatile but creative period in the North socially and politically – so that vital sense of place stays with you and if you are creative then it becomes a sort of seedbed, a heartland that your future stance and belief system grows from, Politically and Creatively (like the German concept of Künstlerroman). 

Anthropologically the narrative belief system that we are just visiting in Earthly form - from another 'home' is an ancient worldwide custom, Native American, Gypsy, Greek, Norse, Roman - all 'seeking' and going home', be it toward an honourable afterlife or indeed home in life' if you are lucky - a form of Nivarna or Elysium. There is some of that going on in my work –mirroring psychological states - a re-aligning of things, an investigation of the good and the bad. It's a journey, maybe full circle ? Not unlike the Salmon.

Travellers (Wycollar)

The naming of parts
They are Pointing

Of Romaneche

The shadow in the mantle
The lightning overhead
Tomita hasn’t come yet
And Elvis isn’t dead

Before your life
A Thylacine crossed here
Through that ford in the river

Tar melts beside cobble
Vinegar is applied to the head

And through the plaster wall
Love comes a
Drumming drumming 
All in time for bed

Below: Hare licking grasses Timothy and Yorkshire Fog 

Emigre : the sagas of families - often now scattered 

I don’t think re evaluating or re-imagining the past is a retardation of growth - or 'passéiste' as Jean Paul Sartre wrote of his friend Jean Genet. I think Its quite the opposite in this context. If you are addressing change then it is creating new knowledge - so it cannot be 'passéiste' when it is current active primary research. 

I say to students that research and looking at history is, for me, like applying a stick to a bicycle wheel as it spins, to interact with it - and you get a humming sound back, that vibration is akin to gravitational waves coming back at you. A voice to react to. 

Reflection and re-evaluation is not nostalgia. Nostalgia is stagnant - where as reflection and action is organic. For me, at this mid stage, I am very lucky, it is a perceptive trip, very sensational and immersive, it is an interactive, special, 'going down with the sun' type of space for me. Mythological and real all at the same time – an active place - a subject of the present and the future. Not frozen or stuck. The engine is running. 

This way of working is intuitive and very much about personal expression and It often involves rewinding or pausing the time machine and being on the edge of something - another plain or threshold - and that place has a lot of resonance for me - as if the machinery is humming away waiting patiently for me to finish the drawing. Without that kind of magic I would give it up tomorrow. 
We are spellbound when we read Shakespeare, Joyce, Hughes or Pinter or look at a Francis Bacon because they generated a sublime mythic connectivity and captured the poetics of life in an almost cryogenic freeze frame - the extraction and distillation of the Mythos - and through this Lens we see not only the Human and the Earthly Condition - but also the possibilities of our wider Ontology, the unknown or 'Super nature'. 

It is an ephemeral timescale that we have on earth – we don't get long to work it out, all the universal Shakespearian content, trials and reward, the metaphysics of the human condition. As I said earlier, for me it feels negligent not to look hard at all of that matter face on, eye to eye. I can only do that through the Lens of my own experience. It is not for me to presume or visualise other peoples experiences.


There is a sense of partnership at play as I make work - a union evident between the past, the present and somewhere else, somewhere way off - a sense of connectivity. There are often ghosts 'at table' when some of us engage and compose these ideas into written or visual languages. Loved ones don’t go away, so the dead are often present - it can be a complex process to be involved in – it’s not light material (laughs) however it is rarely too melancholic - it once was but not so now - and therefore it is never sorrowful but more emotionally mature. 

Ultimately all of this creative investigation and expression is, I suspect, allusive of our material mortality and an inquisitive emphasis on how we live - on 'being' here. George Bataille said something along the lines of 'There is no better way to know death than to link it with a powerful image'. For me it is more like creating an alter-icon - a Golem who is present 'at table'. An active accepted protagonist. It is about framing the knowledge of death or - not just to try to understand it but eventually to include it and accept it in life. (rather than deny it and allow 'negation' or 'acting' out - a displacement activity from what needs to be processed and accepted ).

I think this concept of our human caducity and transience is something many learn very 'early doors' - and that awareness matters to me. Maybe I make things to preserve that kind of matter , or to placate something or to re-balance some sort of 'lack' (Lacan) - to evidence that it matters and that things still matter ?
Like the archetypal initials carved profoundly into a tree). Lacan or Derrida would say yes. ''Yes dear Mack yes, that is it ! - that is what is the matter - the matter with you''  

What is 'Matter' exactly ? We are all made up of stars, Carbon, H20, amino acids etc. It goes beyond interesting! (Laughs). So yes, it is ultimately about engaging and not shying away into escapism.

In Particle Physics the theory of 'quantum entanglement' is complex  - but I grasp the notion of two or more points in separate spheres being in contact with one another instantaneously or simultaneously - the lack of a 'threshold' - where a conventional notion of 'time' and distance falls away. A point where the ever present and the very faraway converge and manifest a thought or an action. This happens in the human mind all the time if you think about it  - and happens when we think deeply or dream and when we engage in the type of creativity I am talking about. ( Coleridge famously wrote the epic poem saga Kubla Khan more or less in his sleep after dreaming the whole tale (granted via Laudanum /Opium). I could give more sober examples.

Destiempo fig: 76 ( The wrong time ) 

''....and so on it goes - in fields in england's dreaming - .... an acre or so of ground - where the 'mis' and the 'chief' spin their nights co-joinery - nobbling the gate – 'Wood-Cut' still. 
Someone is holding his own; - and yet this is just the nightshift.'

 Destiempo / The wrong time ; (the raid; manno and manito) 

''I grew up amidst semi rural / urban natural history - a road called 'muck road' but we had Red Admirals and Cuckoo Spit everywhere in June – and also lots of Skinheads – a malevolence ... and so it goes – and so we soak it up - the life and death, in sickness and in health, the ‘Birds and the Bees’, the Pond life.'' 

''We shall not cease from exploration - And the end of all our exploring will be to arrive where we started - And know the place for the first time'' T.S Eliot. Four Quartets )

Once creative work is composed (be it any composition, music, poem, drawing etc) then we have brought actual physical evidence of this  convergence into existence - it is spooky yet obviously natural ('spooky action at a distance' as Einstein called it). A Humanist would celebrate all this - so it is not mystic shamanism. Making a picture is quite a primitive and direct act - a cave like primary experience, simple and direct - hand stick paper etc - and yet it conjures up many complex
connections that thread into all sorts of past and future contexts. An Artist envisages these multiple contexts - historical – imagined, factual, Poetic, Politic etc – and we attempt to capture them. 

Artists look in and we look out and we address many tough subjects directly head on that other less humanitarian Professions don't. Envisaging phenomenological time and externalises it in the physical world in order to untangle it - portray it. 
Attempting to trap ethereal nuances via a crude lead pencil or a rag etc -seems a crude process - crude but paradoxically fluid ! Like channeling mozart's music via a broken stylus or a wooden stick - and yet Mozart's results are a prime example of how the human mind channels the sublime into language. So it is a back to front process - and yet when it works then it is a true act of distillation. 

"If you avoid everything you can avoid, then you do what you can't avoid doing, and you do what is helpless, and unavoidable. [Jasper Johns]” 

Johns is talking here about clearing the filter - adjusting the Lens - enabling a clean distillation of your reception and frequency before and as you make.

I feel strongly that you have to discard those learned false aesthetic notions of technical skill, craft and polish. Otherwise it is just a form of compliant 'picture making' - imitating. Its better then not to worry how the work is perceived. 

This approach is not aiming at decoration or to impress or communicate an agenda - or market an idea -  It is much more about the act of making a visual record of what happens when you attempt to connect the antennae with ones own experiences in orchestra with contextual and external research - the end result is the drawing or image, be it a good or bad one -  its a document of the attempt.
This is why a child's drawing is so free of artifice or 'showing off', for it is not seeking accuracy, realism or figurative merit. 

As I have aged little else matters to me nowadays than the actual visual record of the interaction I make on the page that day - the image, and if I decide if it is some way interesting.  

I rarely go back and try to improve it etc . In my view everything else I could make is in danger of being a false notion of seeking a skill level or an imitation of something and that approach doesn't excite me anymore - and it never really has. 

Impressing or seeking skill is a lot different to what I want to do in the encounter with the work - So yes, I am very self critical of what I produce and do (as too, I am sure ,are others, who prefer higher levels of care and craft in the aesthetic)

* This is not advise I would give to young students though - as observation and lots and lots of Practice and growing ones visual vocabulary, subject and research interest is what is required -  in order to develop the visual self confidence which takes time - and this approach not always appropriate to those who aim for a commercial career in Visual Communication, where compromise is always expected. ( of course I tell my 'design' students this ) but my role nowadays is encouraging reflection, experimentation and thinking in students - beyond the polish of an outcome.

I prefer to take my chances with the less tangible methods I have come to employ and wrestle with this often primal way of mapping my relationships to events (which of course is nothing new and goes back to the Cave). I am fascinated by Anthropology and at the moment Denisovans (Denisova hominin), Ebu GoGo and Hominids generally but thats another set of work that I am working on.

Extract from exhibition interview on Drawing. ( at In the Flow ) All sales were In aid of UNICEF: to raise awareness and funds for displaced unaccompanied refugee children.   

Ardennes 44 series 2012 - circa 80 drawings 50 Cantos

Q; Are you measuring something ?

No, I think measurement is too logical an act to describe what I do when I try to connect up and draw-something - weighing maybe ? but ‘measure’ is a conceptual and evaluative thought really I think, made after or before the physical act so .... no, i'd rather say I am about revealing and throwing things up more spontaneously. Visual language of this nature from experts like Twombly, Eva Hesse, Beuys, Oppenheim, Tapies etc are analogous to music. 
When teaching then the analogy of archeology is often very appropriate - of digging, revealing layers of things - (Theres a  famous Heaney poem about his this). Many creative people feel akin to that - it is very true of myself and the way I have always felt and worked - but the only problem with it is that it suggests that you are purely digging retrospectively and seeking historical revelation rather than creating new things and arriving at new borders and new territory - and thats very important because what I try to do is not 'retrospective' not the re-working of old soil. The soil you lay in has to be fertile and newly turned and cultivated for growth to flourish so this sense of old and new I find very interesting and conflicting. Recycling past memory with new growth and ideas is what I think happens naturally when we make something in the present afresh - even though it may be driven by our past phenomenological experiences of colours, language and place. 
Extract of Interview June 2016

Drawing above - ' The Absurd - Sniper in the Ardennes Forest 1944'
(The Golem of The Third Reich)

Question: Why the 'in aid' of UNICEF connection ?

Its frustrating that Politicians, the UN - all large modern organisations cannot mobilise together and do more to help these children - legal minors. There seems a ‘lack’ collectively - there is always resistance - a tribalism, and that is the burden we all carry as a race. It lets us all down. 

The raising of even some small funds helps placate some of my own feelings of helplessness when I see the news. The urge to Protect and defend is a very strong instinct in some of us, we are all repulsed by bullies and violence and some of us want to confront that head on - I certainly do - and so by addressing it through raising small funds is ok but it seems at times a tame approach for me. I am very clearly conflicted about all this and own some cognitive dissonance towards Art or Action? Pacifism or Defence ? all versus 'the horror', the terror. Which is why it is very important to me to be making some work in aid of humanitarian support organisations like Unicef or Warchild. It is a drop in the ocean really though and small efforts - not enough ?

Deep down I want to go and fight it more directly - seriously, like Laurie Lee - he delivered - fighting the tyranny and stupidity that Men do in the name of their belief systems and power. I should go and work as an aid worker and give Professional support - teach there - fight and confront it on site. Yet I have a family now so I cant realistically do that (and let them down - I put them first) but personally I should go ( its not good enough - to use rhetoric alone) . Harold Pinter talks about tackling the human wound head on - peopling it with brave exploration to understand it rather than to try to cure it via theoretical exegesis and over analysis. I have been gladly corrupted I think by my own early conditioning and events, by a working class childhood where you have to fight back against an aggressor - the bully - you have to protect the young and the vulnerable from malevolence - so purely making images and messages seems very inadequate to me at times - especially when we feel inside that we should be present and working more directly in aid of these Children and people under stress. I know someone who went to the Calais jungle to give support and work with the children and families there  - an Artist (Pete Nevin). So yes, that there is the real thing.

I think I would only have any self respect for myself if I achieved that sort of commitment and goal - beyond raising some small funds -pennies in the scheme of things . The real educators and aid workers who are on the front line - what more can one say about them ? Incredible commitment, risk and engagement - such respect and admiration for them. The Red Cross, Medecins Sans Frontieres, The Humanitarian Military sent out there - all these kind of Professional teams and individuals in the camps and in these war zones.

Guardian link  1;

The children of the Calais refugee camp face daily horrors.

Guardian link  2;  ''Three months since the Dubs amendment was passed, only 20 children have come into Britain. The failure to look after unaccompanied minors is just one more refugee policy failure'' 


You are all Welcome 

Drawings can be elusive. Dreamlike, (oneiric) thoughts - of instinctive knowledge that through the expressive act of drawing become real observable material things - real Phenomena (in the form of the drawn visual outcome - they are rarely re-worked by me after the event but kept as they arrived - travel weary and worn, sort of 'sold as seen'. Perfection is a construct, a falsity. 

I also think of a Rose as a good analogy -  that there are other lifeforms - on the flower and petals - seen by some as imperfection ? Yet this is all part of the holistic natural truth of the Roses beauty. The natural cycle and authenticity of the whole - without eugenics or weeding - so I see my philosophy for drawing as a sort of re-wilding of my own more primordial thoughts. Allowing them to be expressed and to be welcome at table - to counterbalance the more learned and sophisticated manors. 

The more cleansed and managed a society or bio-culture becomes then surely the less natural or honest it is ?

Material Culture  Lecture notes:

As a race we have the ability to poetically re evaluate perception through a state of almost neurotic curiosity. Excavation occurs subconsciously before reconstruction - and so therefore there is never a 'construction' it is always a reflexive reconstruction of mythologies. Rabbits dont do it - Hares dont do it - nor the Ant - Neanderthals did it – and we do it ... we have a unique access as a race to the trail of historical artefacts of our shared lived materiality - the trail is a Hansel and Gretel trail of bread left only by the active and fortunate - so what of the evidence long gone ? - what of that ?

We may come to understand that the un-actioned or 'lost' thought is still collective and may still be recorded somehow - and if so then can it be accessed - and if so where are these tales, lessons and loves - where are they now? 

This what has always interested me and fired the work I make - catching the unknown, the elusive - the in between - the luring or seeking out of the oneiric and speculative into a physical realm - through poem or picture. It is viewed by some cynically as shamanic, yet for me it is just seems a very natural intuitive way of approaching things - and I think it is for any kind of meaningful creative alignment - whether you write music or paint. You ,ust give up the intellectual control in the shallows and go further out to sea – tred the deeper water, and risk what’s further out.

So, not another walled up country and not a shuttered room - somewhere else - in between - borderless - west of Pediment - between the rational thought and the practical act these places exist even if no one is looking - they often find you. There is water there - Iron, Fire too - disenchanted and enchanted landscapes harbour the lot.

Beyond Proust's irremediable solitude: 

Drawing of this nature and its content is for me a form of perceptual interpretation therefore it is not about limited certainties, imitations or manifestos it is rather an expression from a nebulous sometimes felicitous psychic space. One could say this personal expression celebrates a wider concept of 'survivance' (gerald vizenor) - and that the act of drawing and the resulting work is ‘active’ with a surviving sense of resilience and presence over absence and not 'reactive'' but rather enabling positive action rather than a dismissal or negation of the void.

Preserving these observations ‘seen’ or perceptions ‘felt’ as an expression of visual language or text is an entanglement of sensory observations from the present and of the past - depicted and preserved into one capsule – and therefore they become an expression of immediate experience - and even if the work has a natural involvement with the historical past - the work is paradoxically born out of knowledge and feeling gained in the present - therefore it is a recording of that present moments perceptions and not an echo.

Interestingly some corners of this mental psychic space are not re-visited once it is felt that these narratives have been successfully navigated and preserved in text or drawing - and thus they no longer own such priority once the feelings are expressed.

As a result the work when successful helps define for me a more acceptable state of 'being' amidst the plethora of simulated 21 century stimulus that is both heterogeneous and conflicting) and so the drawing helps navigate away from potential senses of absence or disenchantment, of anthropocentrism, and of Illusion. The work steers one away from 'the Other' toward levels of contentment through engagement. remaking and re-owning things presently - in the now. (Anthroposophy, Steiner, and Derrida promoted these properties as healing agents also)
*noumenon's original meaning is "that which is thought"  Kant evolved it towards 'an object or event that exists without sense or perception'

Feeling subconscious - Non focal awareness

Digging through the top soil

The absurd - Below the Wind : Ardennes Belgium 1944 Topographically missing in action 
Family narrative Painting MM


When Herman Hesse wrote that 'Every man or woman is not only him or herself for he or she is also the unique particular, always significant and remarkable point where the phenomena of the world intersect once and for all and never again'

Hesse is not saying we shouldn't embrace our shared social sisterhood or brotherhood etc nor is he claiming that we should ignore our collective strengths as a closer knit society or humanity. He is stating that personal experience - though often shared - is always unique and particular to the individual - we are all different due to a myriad of circumstances, responses - the quirks and nuances of an individuals genetic make up within the 'self'. Using this unique auto biographical experiential voice and knowledge is vitally important for any Artist, Musician, Author etc if they wish to make work that has genuine authenticity and honesty - and crucially if we wish to share it as a visual 'opinion' / subtle experience - OR indeed to 'raise the volume' and make societal work that supports, subverts or criticises society. This 'voice' should also be applied to any smart creative school or Institute that seeks to cultivate and harbour creativity. Seeking to emote new knowledge takes risk and deeper levels of self awareness beyond the superficial, aesthetic skills - it requires digging deeper - down through the strata of surface turf that can stifle intuitive germination - stifling original ideas and concepts.

Digging a little deeper through the top soil is necessary if we wish to 'Practice or Teach' Creativity. This is Authorial Practice.

There is also the esoteric turf of Intellectual and analytical theory within the Creative Arts and Humanities. The Academisation of the Arts is concerning.

Don Marquis the great American poet and writer said something along the lines of - to publish a line of poetry is akin to throwing a feather down into the grand canyon - there will be no grand resounding echo.

Now I may have added the last bit -  but Marquis' truth can also be applied to the act of producing a drawing, doodle or painting -  or playing the fiddle  - or indeed to any non commercially commissioned creative practice. It is akin to whispering to ones reflection in the mirror - not an act after approval and with no aspiration attached to it other than the doing 
Making at its best and most honest is most often just performed as a statement of existence - an individual or collective act of being.

Like the megalithic hand stencil in the cave of dreams. ''I am here'' .... and if the work survives ''I was here'' ( the hominid hand on the cave - or the 'graffiti'  on the alley wall )

Biography and authorship occupy a wider horizon than the umbilical chord ( naval gazing ) and are often just about the act of drawing or Poetry itself ( with no audience sought )Authentic creative work can never be indulgent really - indulgence or self navigation is often judged by critics - but it is very much needed in order to get under the skin of things and to then enable the work to eventually be rooted universally into social histories. habitat, and reflecting us all as people - the wider family and the many shared mythologies of memory itself , and the feeling we all own for that.

notes: Is speed of thought 'superluminal' ? And what of the 'magnetic moment' Magnetite biomineralization in the human brain and how we sense forces etc ? Though Magnetite is found in all the body’s tissues, it is highly concentrated in the meninges and brain). Also what of the empathetic ocurrances of transference, fusion and counter-transferance in psychoanalysis.

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