I am one of the eleven artists chosen to take part in the VRRRR Festival 2017. The festival takes place in Toulon in the south of France.
Non stop drawing
For three days the Musée d’art de Toulon will have non stop drawing, music and performance. I’m on my way down there now and really looking forward to taking part. This year is special because it is going to be a retrospective of all of the previous artists. It is also going to be the last edition of the festival for a while, because they are going to renovate the musée d’art de Toulon.
I don’t really know what I am going to do but that is part of the festival !
Berlin – Toulon
Last week I went to Berlin for the first time in my life (late developer). It was an excellent holiday and really good preparation for this festival. Berlin was like a huge open air art school. There is definitely a spirit of experimentation. Art is everywhere, and some of it is so beautiful. Overall it doesn’t matter because there is a lot of space.
I didn’t have any particular ideas when I went there. Travelling is always so fascinating. You are so open and such great things happen.
So here I am travelling again. And for the next three days I’ll be travelling in my imagination. Image Nation.
Exhibiting in Toulon
I will post to my website everyday during the festival and for more informal, off the cuff stuff, you can see my instagram feed or my facebook page.
All the pieces I create during the festival will be exhibited from the 10th until 25th November 2017 in the musée d’art de Toulon. All the pieces will be for sale in Toulon and there are lots of other fabulous artists who will be there so if you are around, come on over. Its free entry, open to all.
I managed to learn (more or less) Song of Childhood by Peter Handke last weekend in Berlin. I will do my best to learn a poem for this weekend but I’m sure you’ll all be very understanding if I don’t manage to do it…
Now I am going to rest and hopefully enter into a dream state…
This week, here is a poem called Muse by Jo Shapcott. Muse can mean more than one thing…
I enjoyed learning this poem with the lines running into each other and the sound of it. And especially the “punchline” at the end of the piece.
The music of this poem, the images are very specific and clear.
The muse, who is it in this poem? That is the question. The poem uses very specific images. It wants to break out of the typical muse relationship. The poem that follows the title is very different to the traditional idea of the Muse.
Poetry and Football
I tried recording this in the park, sitting on a bench, while my children were playing football. It was a beautiful day today. It was great to watch them kick the ball about. I tried to record the poem, sitting on the park bench, I just imagined it (as I often do with poetry) as if someone was just talking to you.
However, it was impossible. I was sitting too near a goal. I was also asked to be a ref, and an admiring public. I had brought books thinking I might be able to read some of them. Then we had to leave. I regret not having recorded it in the park. The sun through the leaves, the shouts of the children playing. So beautiful to hear all this life.
We finally got home late and with lots of things to do (one child had conveniently forgotten lots of homework so he could play more in the sun) I finally recorded the poem. I imagined of course how you might say this to someone. So I lay myself down. Plus I was “dog” tired…
Poems and Everyday Life
This is something that I like in this poem: it is down to earth. You have a feeling of clear eyed reality, with an eye for the specific detail. There is no Muse here. What is the Muse for a woman? A man as a Muse? Difficult.
The more I learn poems and say them the more I imagine how strange it is to say them. To ask someone for their attention. To hope that they can get the same reward from them. To discover the poem in real time.
I listened to an interview with Jo Shapcott where she mentions Elizabeth Bishop leaving her unfinished poems stuck to the wall for ten years. Poems take time to write, to be born. They take time to learn and as you learn them they pass into you. I imagine not as much time to learn as they take to write. And they take time to understand as well. Imagine taking ten years to understand a poem. It is a short time actually.
I would say this poem on the metro, walking in the streets, in lifts, in stairwells. It is a little like the drawings I do on the metro. Sometimes I would look up and see all the people on their smartphones. I am sitting there with a scrap of paper. Sometimes I put the poems I am learning onto smartphones. That way I do not feel left out.
The poem works its way into you. Any poem that you’re learning. Then it is there.
When I kiss you in all the folding places
of your body, you make that noise like a dog
dreaming, dreaming of the long run he makes
in answer to some jolt to his hormones,
running across landfills, running, running
by tips and shorelines from the scent of too much,
but still going with head up and snout
in the air because he loves it all
and has to get away. I have to kiss deeper
and more slowly – your neck, your inner arm,
the neat creases of your toes, the shadow
behind your knee, the white angles of your groin –
until you fall quiet because only then
can I get the damned words to come into my mouth.
Here I am saying The Road Not Taken by Robert Frost (1874–1963).
At the moment I am on holiday in Ireland. I am trying to memorize a poem every week. This is the second poem that I have learnt. It was rather difficult to recite it, as every time I have tried to recite it I was interrupted. I am in my parent’s house with lots of nieces and nephews and of course my own children. That is why I am reciting it hidden in my bed… Even still you can hear some children if you listen carefully, shouting in the distance, as I say it.
This poem was originally intended as a joke by Robert Frost to his friend and fellow poet Edward Thomas who was famously indecisive, especially on their walks together. This was when Frost lived in England for a short time.
Generally people imagine this poem to be the decision, made earlier in one’s life, about a road not taken. However, having spent some time with the poem you hear that
“and both that morning equally lay
in leaves no step had trodden black.”
So, in fact there is no real choice to be made. The general understanding of this poem, at least in popular culture, is that this choice was difficult and that the narrator made a choice “the road less travelled by, and that has made all the difference”. In fact, both routes are the same. You cannot make a real choice between them. In reality we know that there are rarely situations in which we fell there is a black or white choice.
Perhaps we see all these choices only in retrospect. As the narrator imagines himself somewhere in the future, sighing, regretting the route that he took.
Sometimes we don’t even see what choices there are. We imagine the choices afterwards.
As I was reading about Frost and learning the poem I found it a little difficult. It is beautifully written and yet there are no images really. A yellow wood, leaves that no step has trodden black and a road that bends into the undergrowth. That is what is so beautiful about this poem. It has structure and a stark, simple beauty. It is delightful to see how effortlessly Frost has put the spoken patterns into the meter “though as for that the passing there had worn them really about the same”.
Recently, I have been looking at Edward Hopper‘s paintings again. There are parallels between Hopper and Frost. Hopper was a 20th century painter yet like Frost he seems to have 19th century concerns. Everyone knows his work, at least superficially. We can see that his selection of reality is an interpretive one. His interests seems to be formal ones, also like Frost.
Everything in Hopper’s work is deceptively simple. For me it is fascinating to think that Hopper was also a contemporary of Pollock, de Kooning and Rothko. In the 40s and 50s abstract expressionism was the direction that painting took in America. The expression of the individual. The cool calculated approach of Hopper was no longer relevant.
Learning poems and saying them
It is easier to learn a poem with a rhyming scheme. I thinkthat I will be able to learn many poems. It is an interesting way of approaching a poem. You begin to get inside the poem.
However, I do not know what the point of this is. I do not really know why I am doing this. I think of it as a way of learning forms of poetry (stanzas, iambic tetrameter, etc) and maybe reproducing them in my own writing. Maybe that is what I will tell myself after…
It is hard to recite poetry. What I mean by that, is it is hard to just say a poem in a simple way so that you can hear the words and not the way it is being said. It is hard to say a poem to people.
I tried a couple of times, just in the middle of the day, just to say to somebody “would you like to hear a poem?” It is strange. Maybe we think of poems as being very personal. I know I am not sure if I would like someone to recite poems to me. It is an interruption. I want to know how long the poem will be. It’s like looking at a video on the web and being able to see the time that it will last. We have no attention span anymore.
What form? What for?
So I will just keep learning poems. It is a little like learning songs that no one will ever hear… Or the time spent looking at things that nobody ever knows. Going back to Hopper, you can see from his very detailed notes that he really imagined his paintings beforehand.
I always wonder how much artists really know before they do or make something. It is a mix of both approaches. We never really do know. Then we have to make a choice… And perhaps never do but make believe that we have made a choice afterwards.