Glut

I love the word glut, even though it’s harsh and ugly in sound and shape, it reminds me of the fecundity of autumn, lush and abundant with harvested produce.

It’s meaning is an excessively abundant supply or to satisfy fully.

The last weekend of September in Plymouth had an outrageous glut of arts and culture. Three different arts organisations included this weekend in their programmes.

Drawn to the Valley , straddles the area adjacent to the Tamar Valley. Predominantly featuring ‘Open Studios’ the work of just under 100 artists was available for 8 days, finishing on this weekend.

Plymouth Art Weekender also has some open studios , but it also features performance art, sound art and interactional art experiences over 63 venues all over the city. Events started on Friday evening and carried on until Sunday afternoon.

The Atlantic Project is three weeks of an International Festival of contemporary art starting on this weekend with sites both indoors and outdoors across Plymouth.

www.drawntothevalley.co.uk

plymouthartweekender.com

www.theatlantic.org

With so much to do and so little time to do it in the weekend passed quickly. Flashes of recycled plastics in a green and white funeral-like procession with discordant music. More discordant music and watery sounds. Amazing enthusiastic people doing their thing everywhere. It was a brilliant weekend. I could list the stuff I saw but that would be very dull. I’m going to write about three artists, one from each organisation. They happen to all be women but that’s a coincidence . I also saw some amazing work from men.

Drawn to the Valley- Jill Coughman Open Studio.

Jill was one of my art lecturers , she is inspirational. I’m drawn to her work even when I don’t know that she is the artist. Much of Jill’s work is autobiographical, it is emotional and evocative of both herself and her environment. Even tough subjects feel safe to explore through Jill’s response to them. I bought a print of Dockyard Blues. I love it.

Plymouth Art Weekender- Juliet Middleton- Batts

Juliet invited me to visit her group exhibition ‘Work In Process’

The group comprises both graduate and post graduate students from Plymouth University.

Juliet’s work was stunning. Her title Heroes gave no hint of the works definitive topic but a bike outside embellished with flowers and ribbons in the colours of the Women’s Suffrage Movement was a not so subtle hint. Inside her installation, 100 discs laser etched with the names of imprisoned suffragettes hung on fine thread . The discs represented the medals awarded to all of these women who had endured participation in Hunger Strikes.Illuminated, they cast typography shadows on the walls or flashed a quick bright reflection into the viewers eye. It was mesmerising to look for familiar names but also intriguing to catch the names of people not so well known. The small scale of the Perspex discs massed together as an installation were a fabulous representation of the power of combined and cohesive effort.

The Atlantic Project – Chang Jia

Chang’s work was the only one that made good use of the phenomenal setting that is the Melville Building at Royal William Yard. The other works in this building made no use of the industrial sized epic architecture. Such a shame for them . It would have been amazing to see work projected onto those beautiful walls. Thankfully Heavenly, Corrupted Landscapes has the scale and impact to drag my eyes away from the internal architecture . Her massive canvases owned the space. Referencing traditional Chinese landscapes from the Ming Dynasty the image is created using microscopic photography of the bacteria that is polluting four rivers in South Korea.

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The Atlantic Project runs until 21 st October.

Art events like the three mentioned are not all about planning. Serendipity and missing things is also part of the experience.

I missed meeting Nikki Taylor www.nickitaylorscupture.co.uk . I’ve loved her mesh sculptures since seeing them in London and was thrilled to find out she works from a studio in Plymouth. When I popped into her studio she was knee deep in great conversations , so actually I got no closer to talking about her work than I ever have in London.

It’s always good to run into people unexpectedly, and really great when you can connect people from different parts of life.

I met a Fine Art PhD artist who was studying the seaweed of Devils Point. www.duncantheartist.tumblr.com that’s pretty specialised stuff but coincidentally I have another friend whose Biology PhD covered the exact same topic. Surreal things happen, in a good way,when you talk to strangers at art exhibitions. Apologies to Duncan, every photo I took chopped your head off.

To make amends for chopping off a head I will finish with some serendipity. a head from Nikki Taylor superimposed over a mural.I love this image of a mesh head in front of a mural by www.loci-collective.weebly.com

So there we are, a seasonal glut of art and culture. All showcased in great venues surrounded by beautiful scenery and radiant sunshine. Summer slipping into autumn with a huge creative Boom!

Always keep your putty rubber warm.

A putty rubber is also known as a kneadable eraser, it gets you out of trouble with sketching, watercolour and charcoal.

This is not really about putty rubber . It’s more about life.

Prepping my kit for some water-colour classes I was reminded of a sentence that I last heard 45 years ago. ” Always keep your putty rubber warm” were the wise words of an art teacher called Tom Abrahams. In art terms a warm putty rubber always gets you out of trouble if you are in a tricksy spot while sketching.

Not having a warm putty rubber was exactly the moment that I remembered this quote. Isn’t that always the way.

As it happens this quote is not only really useful for sketching but is also a fine metaphor for looking at life.

Always being able to correct errors would be an absolute superpower. Meanwhile I’m keeping my putty rubber warm.

#todayimwearing. Why I couldn’t survive a capsule wardrobe.

I’ve collected clothes since I was about 20, that’s 40 years of shopping. Its also 40 years of donating to charity shops as I curate my collection and get rid of the evidence of impulse or imprudent purchases. I’ve always considered my wardrobe to be my palette for creating my style on a day to day basis. Not much exists that is actually 40 years old, but many items have been replaced like for like as they have worn out. In some respects this is counter to the current trend for fashion bloggers, or influencers who highlight what is available to buy now and indeed Fashion and Style magazines. Real life is not about buying everything new each fashion season. It is about knowing what works for you as an individual and buying a couple of bits to replace worn out things or to add some new colour. Just as I have favourite products and colours to create abstract paintings, I have favourite clothes that can be combined to create the style that I feel comfortable in. I have made some expensive mistakes both in art and fashion shops.

All of my previous working life I wore a uniform, clothes shopping was for commuting and weekends. Now I have a new life, as a full time artist and writer, clothes have become a lovely every day creative process and I rarely put the same two things together.

I’ve become more careful about wearing normal clothes to paint in. I managed to buy a massive pair of 1970’s dungarees on Ebay a couple of years ago. I wear old t-shirts underneath. So on painting days the age of my #todayimwearing clothing is about 45 years.

The inspiration for this blog was an outfit I put together recently to deliver some paintings to a client. I was aiming for an arty look. As I put the composite parts back into the wardrobe I realised I’ve been putting this look together since 1977. In turn it was inspired by my mum in the 60’s. I can be that accurate because I wore this look to attend my Viva Voce exam in Russell Square London. At the time I thought this look reflected me as a sensible professional. I realise now it was just me being me.

I am still a fan of a knitted cardigan, but now it tends to be Seasalt that make them rather than my mum.

www.seasaltcornwall.co.uk

Here are the four pieces that inspired this piece of blogging.

The Straw Hat- I love hats, my grandmother bought hats from a gay milliner called Francis Golightly ( seriously) I longed to wear hats , as she did, every day. That was never going to be possible so a straw hat in the summer is the best I can do. This one is about number five and is possibly the cheapest ever as it was bought in a hurry from New Look after number four met a watery grave during a storm in Cuba.

newlook.com/uk

Big Sunglasses- I suffer from sweaty eyelids, big sunglasses are the only answer.I have no idea how many pairs of these I’ve owned. Usually they are cheap fake ones from Greek supermarkets. Age has caught up with me and now they need to be prescription lenses. Ollie Quinn makes these beauties.

oqspecs.com

Scarf- I may have the national Collection of scarves. Simple reason. I’ve never been a size zero and any woman no matter what size can buy a scarf even in the most sizist of shops. Blush pink, I’ve learned to love it, inspired by a fellow blogger. This member of the scarf family came from Oliver Bonas.

sleek-chic.co.uk

oliverbonas.com

The black and white dress. I love this dress, it is the latest iteration of my black and white dress family and is probably the closest to the one my mum wore in the 60’s . I used to make these for my Sindy. This one is from Marimekko.

www.marimekko.com

It’s strange that I’ve never realised that my clothing choices have not really evolved greatly throughout my adult life. I suspect I could trace all my clothes back with similar stories to these four pieces. What chaos could I create in my life if I ever used a personal shopper?

Plymouth Bloggers- an evening out

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Being a Thursday child I’ve been about a bit. However for nearly thirty years Plymouth has been my nearest City and the area that I return to even after long sojourns. My relationship with the city is mixed, initially I was a little ashamed to say I came from Plymouth. My reasons were complex then but I’ve grown to love the city and really want the best for it. Aditya Chakrabortty wrote a brilliant piece in The Guardian, recently,that reflects where the city is at right now.

https://www.theguardian.com/commentisfree/2018/apr/11/post-industrial-plymouth-business-social-enterprise?CMP=share_btn_link

A group of Bloggers were invited to the Crowne Plaza in Plymouth to meet with some of the people and organisations who are keen to promote Plymouth and its increasingly vibrant cultural and creative life.

If anyone is in any doubt that Plymouth is on the up then curiously the Crowne Plaza is a good place to start.

Big organisations are wise when investing large chunks of money, they do their research. Crowne Plaza has invested 5 million pounds in reimagining the old Holiday Inn. It is a remarkable transformation. 30 years ago my very first night in Plymouth was spent there, the only thing that lifted my heart at the time was the view from the room hosting the breakfast buffet. That same room is now the latest iteration of the Marco Pierre White group of restaurants. Beautiful, louche, photographs of the eponymous chef fill the entrance.

Once inside the place is so stylish and glossy with those amazing views it’s hard to think that you are in Plymouth rather than a world renowned iconic city. (Iconic City is of course exactly what Plymouth wants to be) Anyway I digress. My point is that Crowne Plaza have invested in their Plymouth Hotel because they believe that Plymouth is going to become pretty amazing.

The Bloggers event was held in one of the meeting rooms. In common with the whole interior of the Hotel the room had some pretty interesting artwork. Inky Blue is the signature colour of this hotel.

Usually when Plymouth Bloggers meet we eat and talk, last night there was talking to be followed by cocktails and canapés. Luckily the quality of the talking took our minds off this unusual turn of events. Sally from Onshore Media introduced us to the movers and shakers of the Plymouth P R machine. I imagine there is no such thing as an effective, yet lack lustre PR, I was impressed that Plymouth has such engaging and dynamic representatives , vividly explaining where this, somewhat overlooked, Port goes next.The point of this initial meeting was to explore where blogging and PR merge and how they can be mutually supportive. I find this whole thing really interesting, finding things in Plymouth that fit naturally into the general theme of my blog will be fascinating.

www.visitplymouth.co.uk

www.crowneplaza.com/plymouthuk

www.mpwrestaurants.co.uk

https:madeinplymouth.org/

www.weareonshore.com

Cocktails and canapés, beautiful views of a great city, nothing more needs to be said.

Thanks to Lauren Rogers from Crowne Plaza for hosting, the bar has been raised for future meetings.

Abstract Intensives. Reflection #2 Late August.

Late August always seems to be a more logical time to reflect than the dark days around the New Year. Obviously I’ve wanted to reflect on the change the Abstract Intensive Course at hhttps://www.falmouth.ac.uk/ has had on my work. I realise now that that is just part of the picture, prior to my attending the course at Falmouth I had already submitted many works to galleries and exhibitions for the summer season and completed commissions . The unsold works from these events, and, to my chagrin, a refused purchase of a commission are slowly returning to the studio. Even with the insight of a fresh pair of abstract eyes I still really love some of them and am surprised no one has wanted to take them into their homes. Others I can see that only a mother/ the artist could see their good points. I’ve still got some way to go to get through the reading that was suggested to me by the tutors.The reading has been a great pleasure.Accidentally I went to the Royal Academy Summer Exhibition twice. Once before and once after the course. I loved it both times but it was really a treat to see it the second time. I’m unsure if it was great because the curating artist was Grayson Perry whose work and words I adore or great because I was really geared up to look at contemporary art this summer. Either way it felt like the best RA Summer Exhibition I had seen. Taking all these things into consideration as well as the Abstract Intensive Course . I feel some change is afoot for my work. I’ve realised that when I paint my abstracts they are not only representations of how I see the subject but also how I think and feel about it. My way of applying an image on my newly acquired art boards (with thanks to Ravi Bains who made them https://www.endgrainsurfaces.com/contact/) may not look so very different from my usual style but my thinking will have taken some more intriguing routes to get there. In the next few weeks I’m going to have a virtual ‘Open Studio’ to sell off this summers returners before I get down to some serious painting in September.
Concrete Rock Pools from the previous blog and inspired by a visit to Trebah ,on the Helford River https://www.trebahgarden.co.uk/has been finished. Some rusty old iron stripes and some fragile bubble shapes add to the glorious Mediterranean colours that were such a part of the summer of 2018 . It was a great place to contemplate War and Peace.

Abstract Intensive.Reflection #1 Early August

Following the last blog which was in essence a review of the Abstract Intensive Course at Falmouth University www.falmouth.ac.uk this blog is much more of a personal reflection. More like a diary of how the course is affecting my practice

I accidentally fell into painting abstracts during my degree in Fine Art. Prior to my foundation course I was very much a landscape painter. The beauty of foundation courses is the requirement to try a lot of different styles and to form ideas on which direction to travel once on the degree. My first foray into abstraction came almost by accident, I was struggling to express my reaction to the events of 9/11 and found abstraction to be the easiest tool in my limited skill box.( An earlier blog Bloggers Block covers a similar theme) https://theoldmortuary.design/2018/03/15/blogblock-spring-clean Abstraction worked then and I’ve largely stuck with it.

Reading books about abstraction and following abstract artists seemed only to take me so far, and it certainly got me through my degree. It got my work into galleries and exhibitions, into people homes and serendipitously one of my pieces of work was shown at Tate Modern . With more time to paint and think I was thrilled to find a dedicated Abstract course not to far from home. Time to learn Abstract techniques first hand.

My particular interest is the interaction of man made structures on landscapes and nature’s constant bid to overwhelm and reclaim supremacy, Nature always wins.

This is the start of my first painting after the course.

It’s working title is Concrete Rock Pools. The Southwest of Britain is a rich source of concrete, built quickly during WW2, used only briefly during the preparation for the Normandy Landings. 80 years of weather and tides have broken it down leaving concrete and rusty iron that forms rock pools that are part natural and part man made.

This will be a different painting from one I would have done on the same subject a month ago, before the course. The impact of a week-long intensive course shows itself in this painting in small ways. Marginal gains is the sport psychology terminology for small improvements in performance.That phrase works equally well in Art. Measuring my own marginal gains may simply be taking time for recognising and reflecting and then developing confidence in those changes.

Having largely worked out my own methods of abstraction from practise, reading and observing other artists work it was great to have this book recommended at Falmouth.

I’ve been stealing an idea for abstraction for years from a completely unknown artist. I’ve always felt a little guilty about that. The author of these books, Austin Kleon cured me of my guilt. Both the book and the journal are well written with simple tips. I’m sure the strategies in these books are useful applied to many areas of life not just art.I bought mine cheaply from www.abebooks.co.uk

( My guilty steal happened at porteliotfestival.com A life drawing class was being taught in one of the tents. The model was posing, lit by some shafts of sunshine piercing through small holes in the canvas roof.There were some cracking images being created by the small group of artists. One artist however was writing a stream of descriptive sentences. Really beautiful words that were accurately reflecting the change of light,texture and nuanced shapes on the models beautiful body. I’ve used this technique many times when an image doesn’t quite flow from mind to canvas or when it is impossible to recreate natural beauty with a photograph, I just take some time out to write what I see and how it makes me feel. It really helps to get me out of a painting rut if I read these notes)

The relevancy of permission to steal to the above painting is all about fear really. I want to get both rust and and tiny sun bursts into this painting. The potential for error is great particularly when I’m happy with the first painted layer. Time to research abstract sunbeams and rust.

Falmouth Intensives, a personal view.

A collaborative painting- Abstract Intensivists 2018 I recently completed a five day intensive course in abstract painting at Falmouth University.I’ve done art courses most of my adult life, many of them at established, well-regarded art schools. Some on-line and some that would be regarded more as a leisure pursuit than as an intellectual expansion of artistic knowledge and skill.The Falmouth Intensive was the best organised course I have attended.At £500 for five days, it is not cheap but is certainly in line with other courses that are available.What did the Falmouth Intensives Course do to make me rate it so highly?The campus itself is eclectic and beautiful,especially with weather that was perfect. Falmouth is a dream destination for artists.Students/course members were treated as valued clients/customers. Our working accommodation was a large Victorian villa on Wood Lane, a leafy suburban street that merges town with gown. We were a group of 9 course members, with a choice of 11 well prepared studio spaces. Within the studio space area there was a communal kitchen that was stocked with complimentary tea, coffee, milk and biscuits, all branded products, that were topped up every day. The communal kitchen was shared by all the intensive course attendees, there were two other courses running the week I attended. This gave us the chance to mingle and share experiences. Food based ‘ break-out’ sessions happened nearly every day, not compulsory, they enabled artists from all three courses to meet whilst enjoying food, drink and some valuable time away from their artistic endeavours. This was a brilliant idea, artists can be insular creatures, to lure us out of our studios with the promise of free food was a genius plan. Falmouth Uni also wins a food diplomacy prize for serving scones a bit like a Victoria Sponge, (Scone-Jam-Cream-Scone). A simple flip made the scone ‘Cornish’ or ‘Devon’, keeping the scone purists happy.So, as they always say at the beginning of courses “that’s the housekeeping done”.The abstract course was not afraid of taking all participants back to basics. Our first morning was spent doing drawing exercises indoors and making observational sketches outside. Our two lecturers for the week were Simon Averill and Glad Fryer, a fabulous tag team of enthusiasm and knowledge. Both working three of the five days we were given the chance for ample informal conversations with one or both of them in addition to time-tabled ‘crit’ sessions and seminars. Both held sessions in which they shared their own working practices and experiences as active artists in the abstract genre. They also made the effort to bring in a good selection of their work and published materials. It is so helpful to understand other artists viewpoints and creative endeavoursWhat participants never know on these ‘selective’ courses is whether everyone who applies gets selected or whether there truly is a selection of suitable candidates. Either way, due to serendipity or selection, our group of students worked well together. All with a similar work ethic, we were surprisingly productive over the 5 days. Our one experience of working on a collaborative piece of art exposed us all to a new, to us, and unique way of creating art. With no rules or instructions it was left to the group to devise a way of working cohesively. That’s a tricksy ask of an established group of people let alone virtual strangers. I can’t say it was all ‘peace and love’ but the character and texture of the individuals in the group found a way to create an image together that gave us all something to think about.The Simon/Glad tag team, was an inspired choice as course leaders. Significantly different in character yet matched in the quality and style of their teaching, it is hard now for me to remember which one taught me which of the learning nuggets I have taken home.Their enthusiasm carried me through when my paint was recalcitrant and my technique shoddy. I’ve been home a day, had some sleep and time to reflect, undisturbed by swirling thoughts of ‘resolution’. I’m nearly ready to unpack the car and return my stuff to the studio. Next week I will paint abstracts again in a whole new way and with a lot more confidence.Thanks to everyone who plays a part in organising or delivering Falmouth Intensives. Thanks to my fellow intensivists. It was great to meet you.An abstract of this blog is not available.A feather that blew into my studio on the last day. I wonder who was visiting? #creativespirits #abstractthoughts

Thinking in circles. Writing in lines

Returning to Synesthesia

A little over a year ago I left my profession to pursue old ambitions and loves more wholeheartedly. Mainly painting and writing but also other things not remotely related to medicine. One of the greatest revelations had been the ability to think more effectively, something that is harder when a job not only requires its own specific thinking but is also physically demanding with long hours worked in a challenging environment.

I was always a ponderer. To say I was always a thinker sounds way more impressive. Ponderer is more accurate . I can’t quite fit the brief of reflector either.

As an only child I was very happy in my own company. Pondering.

When I was in my thirties I became aware that my way of thinking was not the same as others and specifically that I have Synesthesia. This was discovered when I volunteered as a normal baseline person for some Psychological tests that were being trialed for people with acquired head injuries. It turned out I was not quite the help to the testers that I had hoped to be, but I had a diagnosis, in reality just a name, for my peculiar version of thinking. Early on I had self diagnosed myself as stupid and muddle headed. To achieve things I really had to concentrate hard to get quickly to the same place mentally as other people or I could use Synesthesia and get there quicker but with no sensible explanation. Without concentration my thoughts would swirl around dipping into my huge reserves of useless information or concoct creative but irrelevant sub texts to the tasks in hand. Learning to read was the first time I felt the fear of having to learn in a way that was proscribed by an outsider, rather than by a scheme of my own making. Fortunately words and writing seem to suit my form of synesthesia, so the concentration I had to muster, to learn to read, paid me back quickly by opening new worlds accessed more easily by literacy. Words are almost my favourite things.

Not that I realised that at the time, at the age of about 5 I was asked to read in a school assembly. Guided by my self -belief that I was muddle- headed I assumed it was to make an example of me and show how dumb I was. Some years later I was told it was because my concentration had boosted my reading age significantly. The same feelings of inadequacy swept over me when I was given an adults ticket for the library when I was eight. I assumed once again that my muddle- headedness had made me not clever enough for children’s books. It took a while to realise it was a promotion of sorts for the opposite reason.

Maths was not the same, wonderful, numerical worlds did not open for me. My absolute biggest fear was being asked to explain how I had got the right answer. The classic request to show my working out was such a fearful demand that I learned fast how to concentrate on getting the job done ‘normally’ and getting out . My maths career finished at the age of 16. I passed one exam in maths, an ‘O’ level, got a high grade and walked away.I never wanted to ever show my workings out again. The exception to this was Cusinierre Rods, The joy of learning maths with colour and shape. Sublime

By the time I realised Synesthesia was my thing it was too late to talk about it with my parents, it took me a few years to realise how fully it affected my thinking. My parents died before I even realised it was a thing to share with them. My mother almost certainly had it, she taught me to count using imaginary coloured clouds in the wide blue skies of East Anglia. Our real life was constantly overlaid by unrelated thoughts or feelings that, to her, explained the real world far more simply than it could explain itself.

Now I am free to express myself creatively, I’m freeing up my innate Synesthesia.

The best analogy I can come up with is that of a left handed person being forced to write with their right hand. To exist in the academic and working worlds I have had to concentrate on normal thinking and to an extent put Synesthesic thinking to one side because it is so hard to explain and justify.

Thinking in circles, writing in lines, is the closest I can get to describing my synesthesia/accepted normal thinking interface.

I know the spectrum of synesthesic experience is vast . My sensation is that before formal education I was more in tune with it, then life takes over and traditional thinking,  which has been learnt,  takes over. A year of not being in an environment that constantly requires individual accountability has allowed me to think and perceive more intuitively and allowed me to let the synesthesia do the shortcut thinking quickly and without explanation. To be continued.

“ I know the sound of blue and it tastes delicious “

Creative Port- Linda Winter talks to theoldmortuary

theoldmortuary is a place where artists and creative people come to talk. Creative Port is a series of conversations with artists and makers who have a connection with Plymouth, Devon, UK. Plymouth, the Ocean City, is a creative city of arrivals, departures and settlers.

Linda Winter is a regular at all three. She will be exhibiting at Bens Farm Shop, Yealmpton soon.

Coming from a family of creatives, it would have been easy for Linda to become a painter. Creativity is in her blood, descended from an East End tailor, her mother was a woman compelled to make the intricate and fabulous, if not always useful, fabric creations. Her brothers are Art School trained and successful. Christopher Stevens is a painter of note and Head of Painting at Brighton School of Art. William teaches art in Bristol. However, and perhaps perversely, Linda avoided the art school route, her work is solely the product of her innate ability. Sibling rivalry may have made her pick up a paintbrush initially but it did not lead her along a traditional route.

Linda had an uneventful education and then ran away to Cornwall and had a family. Her rebellion was short lived. Three young children, little money and a house on the edge of Bodmin Moor meant that she was thrown back on old painterly habits to keep her sane.

Using Gouache on Arches paper, she painted large vibrant semi abstract boats that quickly became her signature style. Selling though the Barbican Gallery in Plymouth helped to establish herself as an artist. In Plymouth in the 1980’s and 1990’s, being a female artist was a struggle. So, in spite of having numerous one woman shows, Linda went to University to learn how to teach. Again the rebel surfaced, instead of studying art, she studied Psychology and is now teaching Psychology in London, but she still comes home to the sea most weekends and holidays.

One eventful afternoon with only a small canvas to hand, she noticed some beetroot on her kitchen table that had been purchased the day before, (She paints in her kitchen). The leaves were beginning to wilt in the sunlight. The purple of the bulbs vibrant against their fading glory. She picked up her brushes and an idea was born. Although a classic still life subject, fruit and veg were not an obvious choice for an artist as vivid as Linda. The Fruit&Vegetable Series however made a serendipitous connection when Linda had a chance meeting with the Management from Ben’s Farm shop in Yealmpton (where the Beetroot came from). A unique exhibition will be held in the newly extended eating space at Bens, featuring paintings of her naked organic vegetables. The exhibition is special, following a conversation over coffee about the difficulties some families have in affording quality food, it has been decided that the commission, 20%, of each painting sold will go to the Trussell Trust and Plymouth food bank. Organisations’ that Ben’s already support. In addition, Ben’s will also donate a proportion of the afternoons takings from Food and Drink sales. Unconventionally, the opening, at 3pm will be a family event with kids painting, burgers, the paintings and Linda telling her story. Regular adults not accompanied by children are also very welcome. The fruit and veg show opens at Ben’s farm shop on the first weekend of June.

Bill Stickers is not only innocent, he is a genius. ( London gives good Palimpsest)

https://www.theguardian.com/books/2018/apr/25/passages-from-the-bible-discovered-behind-quran-manuscript-christies?CMP=Share_iOSApp_Other

I’ve never really known the correct term for the incidental art created by street posters, graffiti and general wear and tear. Some years ago I settled on Palimpsest, this article in the Guardian has made me question my decision but I can’t really find a word that works any better.

Cultural and creative vibrancy can be measured by these serendipitous spaces.

Not all owners or administrators of walls are fans.

Palimpsest fascinates me , even the corporate version on traditional , paper and paste, advertising billboards are a rich source of serendipitous art if you can catch them on the day old posters are ripped off . The current trend to advertise gigs with notices, cable-tied to street furniture gets around the Bill Sticker haters but removes a layer of lovely colour and text that could be adding to palimpsest.

Occasionally I use the technique to create my own art.

Sometimes the most intriguing stuff can be found down alleyways. Hunting it out can require a strong stomach as these places also gather the excrescences, of a vivid and active night life.

London gives great palimpsest. The images below were collected on a walk from my hairdresser to a favourite coffee shop, half an hour max. My phone is full of palimpsest images from all over the world, some of it from teeny tiny places and sometimes in locations that are unexpected.

Hunt street palimpsest out; you will be rewarded.

” Dull places have immaculate walls”