Kettle’s Yard: a reflection

I recently visited Kettle’s Yard in Cambridge, UK.  Kettle’s Yard was the home of Jim and Helen Ede during 1958 to 1973 . Jim had been a curator at the Tate Gallery in London 1920-30s.  Collecting and curating art and nature in his home, became his cure for undiagnosed PTSD brought on by the Great War.  He became a patron, collector and buyer of works by then unknown (and some famous) artists- paintings by Ben and Winifred Nicholson, Alfred Wallis, Christopher Wood, David Jones and Joan Miró, as well as sculptures by Henri Gaudier-Brzeska, Constantin Brancusi, Henry Moore and Barbara Hepworth.

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This work, called ‘Bird swallows a fish’ by Henri Gaudier-Brzeska, made a profound impression on me. Very pertinent for our ecological crisis.

Jim did not distinguish between high art, naive art, and nature.  There are no labels, so the visitor enjoys the work as it is.  Surprisingly for a curator’s home, there no curatorial statements either.  Alongside carefully positioned valued artworks, we find broken and old furniture, glass, ceramics and natural objects. The aim was to create creating a harmonic whole, not perfection. He was influenced by his visit to India after the war and his work reflects his interests in Eastern religions and folk art.  He invited students for talks at the end of each term and in the end, left the house to Cambridge University.  He meant this humble home to be neither ‘an art gallery or museum, nor … simply a collection of works of art reflecting my taste or the taste of a given period. It is, rather, a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability.’

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Humble collections of stones, arranged carefully, give a peaceful ‘zen-like’ calm to the home.

Looking and reflecting on the interiors, as an architect and home maker, I came to realise that to create a home you have to know yourself and your own needs deeply.  And to create such an harmonious home, you don’t need expensive things- just things that reflect who you are.  So Jim and Helen Ede’s home could be viewed by some as eccentric and unsophisticated but the abiding impression is that of a couple who consciously chose to eschew the materially rich for that which is soulfully rich.  A lesson indeed for these chaotic times and materialistic culture.  Such expression where someone’s inner life has been thrown open public gaze requires inner confidence, critical thinking and unwavering certainty.  This is the home of someone who has absolute happiness, not relative one.  In the end, the lesson for me wasn’t from the art but from the collection and the home as one.

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Works of art by famous artists are placed deliberately low on the floor so that the viewer can sit down and contemplate these.
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Light and shadows play a part in how sculptures are placed
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Plants also part of the display- a living natural art
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You are invited to sit on the chairs to contemplate the space and art

Lessons on design and interiors from Kettle’s Yard

  1. Make the design work for you, don’t follow others blindly.
  2. Choose things that enhance the spaces- these might be cheap things like plants, rocks, books and sea shells. They could be things that you love to touch and see.
  3. Follow the design through as you walk from space to space.  It might be simpler and cheaper to have a flow, rather than each space having its own ‘theme’.
  4. Remove and hide things seasonally.  This gives a sense of the home through the seasons.
  5. Eclectic collections have a charm of their own.  Many design magazines feature empty monastic looking spaces but as this home shows, you can have many things if displayed well.

 

Only Plan A

Plan B types

I have read that the best way to pursue your creative ideals to divide your sources of income- i.e., to have a day job and also a creative evening job.  The intention is that if your creative job isn’t paying the bills, the day job will pay until one day you hit jackpot with your creative venture; and eventually that will become your only source of income.  So your day job would get you ‘passive income’ while you pursue your true vocation.  So you see the bank clerk who plays the piano in the evening at a bar, or the painter who pays his bills through his teaching job.  You can see this from many historical examples- Alexander Porfiryevich Borodin, the Russian: Georgian Romantic composer whose day jobs were as a doctor and chemist, Phillip Larkin, a librarian who was a poet and many others.

Plan A types

On the other hand, artist Paul Klein says that you should have only Plan A and you should put all your energy into pursuing it.  By having too many eggs (and perhaps even too many baskets), you are exhausted with nothing left for creativity.  In this video on Youtube, he says only have Plan A- having Plan Bs are distractions.  By having only Plan A, you focus almost desperately because there is no other way- you have to make it succeed.  Paul Gaugin comes under this category but he never made any money from painting while he was alive- only after death did his paintings sell well.  Do you agree with this approach?  Personally, I am very risk averse and currently do a few jobs while I pursue my creative ideas.  What about you?  Let me know. Here is a lovely video on finding your passion from Ken Robinson, who says it is not enough to be good at something, you need to be passionate too.

 

 

 

In search of perfection

Many artists like to produce perfect artworks- that is understandable.  They see beautiful works of art before them in museums, cities and in homes; and now in the media.  So the quest for perfection is ‘even more in your face’- if your work is not perfect, perhaps you are not perfect.  I have now heard from two artists who are suffering from depression and exhaustion, trying to be perfect, and trying to produce perfect pieces of art.  There is a Japanese concept of Wabi-Sabi, which actually elevates imperfection

But there is a Japanese concept of Wabi-Sabi, which actually elevates imperfection.  So cracks in pottery are filled with gold, literally emphasizing and embellishing the imperfection, instead of hiding it.  The Wabi-Sabi aesthetic is a beauty that is ‘imperfect, impermanent, and incomplete’. It is quite like our physical selves- our bodies are not perfect but using clothes, shoes and make-up we make them look perfect.  But the most memorable faces are those that highlight imperfection- such as David Bowie’s mismatched eyes.  The actress Jennifer Grey who had her nose done, regretted it- she felt she had lost herself or her unique character.

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These are two pieces of pottery that I found destined for the skip.  The creator had discarded them in this bin in a pottery workshop.IMG_3517.jpg

I took them home and I have used them regularly for the last three years. They have not broken or cracked (and I have washed them in the dishwasher) and were perfect the way I have used them.  As I use them, I thank the creator of these two pieces and sometimes feel sorry that in the quest for perfection, the artist threw away two little gems.  I am pleased they came my way- each time I look at them, I think about the imperfection of life and how we can create value of each imperfection through acceptance, patience and love.

Creative soiree One 2016

After many requests to restart the creative soiree sessions I had organised last year, we finally had one yesterday. What a gathering- architects, documentary film makers, theatre artists, fine artists from six different countries or ethnicities (one from Homs, Syria). Some people had brought with them works of art and books that inspired them (Living out Loud by Keri Smith, The Artist’s Way by Julia Cameron; and Harnessing your creativity by Twyla Tharp). People of different backgrounds and age range from 70s to 30s added to the diversity. Naturally, I asked whether the artists of 1960-70s were of as high calibre as contemporary creatives of today or whether we are seeing the very frightening times of permanent loss of creativity. Hence follows a very short summary of the four hour event.

The interview with Marwa Al- Sabouni, conducted via Skype started us off on the question of value of architecture. Does architecture allow us to be frivolous or is it generous? Is it a technical or a social art? Marwa, is a 34-year-old architect and mother of two, who lives in Homs where she was born, amidst some of the most vicious fighting that the Syrian civil war has seen. With her architect husband, she has opened a bookshop after their practice was shut in the conflict. Remarkably, amongst all this chaos and danger, she has written a book about her life with a preface by Roger Scruton. For someone living day to day (as she described), the charmingly calm and articulate Marwa, made it clear that she thinks that architecture must contribute to society. Unlike fine art, architecture has a purpose beyond beauty and though it must be beautiful; architecture must also help to solve the problems that the world faces. The genius is not separate from society.

Another aspect that came up was the concept of waiting for the inspiration, or waiting for the muse. Instead of waiting, as the writer Elizabeth Gilbert has described one must meet the muse every day by showing up for work. Luck is about preparation or being ready to meet luck. To be prepared one must work every day, flex the creative muscles everyday- that is meeting the muse everyday, to show up for work. To capture one remarkable idea, one must prepare many. The pop artist, Prince, who died recently, came up as an inspiration- apparently there is a vault full of his work. He worked everyday and created many songs, not all of which saw the light of day. But the important thing was the creative practice in which he participated every day.

But it is not easy, given internal or external difficulties. But such difficulties also present opportunities and hone our creativity. Marwa’s external problems make it difficult but not impossible. David, a fine artist, who was a contemporary of David Hockney at the Royal College of Arts in the 1960s and taught art there and at Central St Martins, is colour blind. He described how as a child, when he drew a yellow cow, was told off by his art teacher, ‘Cows are not yellow!’ He persevered thanks to a supportive family. An enlightened teacher gave him his first commission, aged 12- to draw French gothic cathedrals. David brought in his black and white digital art- a new media in which he has now ventured in his seventies. Creativity evolves constantly. I was reminded of Hockney’s digital art made on his iPhone. What makes us less creative is fear. We need to believe we are fully creative, right now, wherever we are.

So in a way, creativity is about discovering yourself. As someone remarked, to be human is to be creative. But as a consequence of being creative, one will invariably fail as one tries different things. But as one only hears about successes, not failures, one imagines that the creative person got it right the first time. But in schools and further education, we are not taught the value of failure or even risk taking. We like safety, it seems, so it appears that our work has lost some of the edginess or even exploration. Ideas that are not used, bother us as they sit in the back of our minds as time passes. Artists, architects and other creative people took many risks in the 1960s and 1970s which saw the flowering of ideas. However, the world now presents many new problems- all of which need resourceful, innovative and creative solutions. So lets get out of our safety mode and experiment as much as we can. Creativity is not dying out, it is only transforming- that was our conclusion.

 

Working from the old

I watched an documentary about the work of David Hockney.  It seems he walks around with a camera, smartphone and a notebook- making films, taking photos and drawing or writing on his smartphone or book.  He then uses these to make new interpretations of what he saw. He says that a painting is very different from a camera.  The camera only gives an impression and perhaps, the one only view. It is a dispassionate view while a painting is an emotional response and conveys some of that emotion to the viewer.  That is why the painting is so much more vivid and spiritual, even.  He sometimes takes older paintings or drawings and reinterprets those to give them a more contemporary feel.  So I revisited a 20 year old drawing and then drew it to give a new feel and interpretation.

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This time, I used the colour copier, chalk, pens and crayons to bring out a different aspect of that first painting.  The first one feels like it was done in cold weather while the new one is lively, fun and warm.  I quite like both of them! I gave the second one away as a present so I might do another version of it.  Old paintings can be used in so many ways.  Art is always open.

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Travel drawings

Before the advent of digital cameras and the art of selfies, were the simple tools of sketching and notes.  Recently  I was looking at my quick sketches and paintings made in five different continents in the 1990s.  Most were made in no more than 15 minutes, and yet looking at them more than 20 years later, I can remember how I made the drawing, how hot/sunny or cold it was, how I was feeling and what the place felt like.  This can done even today.  It is sometimes good to get your head out of the camera and observe what is going on. Find a bit of time to sketch and paint. I used all sorts of things- one painting was done using cherry juice.  Travel is also time for creative rejuvenation!

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Creative traditions

Every country has age old traditions that manifest themselves creatively in days of celebration.  But these traditions have become commercialised.  So in an age of mass produced goods and of artificial perfection where the sign of hands and any ‘errors’ have been carefully removed, it is good to make things by hand and make them not too perfect.  Easter offers one of those occasions where the hideous and unhealthy tradition of factory made ever larger chocolate eggs have captured children and parents’ hearts and stomachs.  On the other hand, many traditional Easter foods have been home made, free from additives and perhaps more healthy, if not entirely so.

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Having an Armenian link in my family, I decided this year to make traditional Armenian Easter eggs alongside a traditional meal.  Making these Easter eggs involves using onion skins, turmeric and other natural dyes to colour eggs.  Here are some of my efforts.  I collected red onion skins- shopkeepers were happy to get rid of them.  I also put in some chilli flakes that I was not using (these also make the water red).  I boiled these for about twenty minutes and left it to cool overnight.  In the morning, I pasted some leaves I found in the garden on the raw eggs using water.  I used organic hens and duck eggs.  Then I put the eggs inside cut up old stockings and boiled them further for about 20 minutes. After removing them from the stocking, I left them to cool.  When they were cold to touch, I polished them with some olive oil to make them shine.  Even though the duck eggs were less successful, the over all effect of mottled colour with silhouettes of leaves, was charming on both types of eggs.  We ate those eggs with some goats cheese, yoghurt, traditional bread, olives and tomato and onion salad.  My children had been given some of the shop bought chocolate eggs but after eating lunch, they did not feel like eating those!  What did I do with the waste?  The skins were put in the compost and the leftover liquid was used to dye an old silk blouse.  No waste- a perfect end to Easter holidays!

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