The Story So Far
Early August
This is the first year of Artmap Argyll open stuidios weekend. I open my studio to allow visitors. The figures are well accepted and people seem to be genuinely excited by them One visitor writes “ I hear music when I look at your figures.” There is no music. I wonder what it means to hear music and what kind of music it was. Is it rhythm, or harmony or an anticipated movement of the figure itself.
End of July 2008
On Sunday this week, on a visit to Mull, I got a bagful of string at the stony beach up at Quinish point so that will help me give my fifth figure her legs. I love working on her. She is half leaping and half twisting and I think she makes nice shapes. Its really such a pleasure just now to see them coming together and soon I will be ready to tidy up the feet and hands and faces. I came to ANTOBAR on Monday with five of my family and they stood in their places, acting like sculptures, so that I could get a feel for the space – we had to be discreet because there was another exhibition on - I didn’t take photos - perhap I should have. I am sure that five is the right number. I have a few decisions to make. Garry Fabian Miller was exhibiting at AnTobar when I visited. It was a beautiful exhibition, full of peace and wonder. I wasn’t sure what process he was using, and it seemed petty to spend any time labouring this natural curiosity. Wasn’t it all enough just to look. What he has created goes beyond the material and set me thinking about my own work.Yes it is important about the source of the string and the the process but I want to create a thing that is beautiful almost regardless of its material not because of it. Yet , at the same time, I want to exploit the voice of this new medium in my work. I think, by its nature, the string is heavy with shared meaning and I want this to be part of the whole experience of looking at this work. But, more than anything, I want it to be beautiful.
July 2008
More work on the string figures ( and a holiday in the Lot Valley ) keep me busy. I begin the third new figure. I also have started to build my web-site - I think it would be good to have it for the exhibition - and maybe I can get it mentioned in some of the publicity. I reckon its pretty well deconstructed and as anti-IT as I can make it - I like it a lot. It has two urls http://www.bycmn.com/ and http://www.topasrtist.co.uk/
Mid June 2008
My nephew and godson, Simon, has died. He was diagnosed with Leukemia towards the end of last year. His death challenges everything and leaves me in the dark. He is buried in South Uist, in a stunning cemetery made of sand with the open sea within yards of his grave. After the funeral, we pick some string on the beach for the sculptures and in the evening we have a barbeque with his university friends, The relentless ebb of the sea tide and their young lives make it all almost bearable, almost good. 
Early June 2008
June 2008 I’ve spent the last few weeks collecting string from the beaches and working on the sculptures. I need to rework the running man – he was my first full-size sculpture and I want to incorporate him into the exhibition. His string is dirtier and more matted than the others and he has no supporting frame. I will put a bar into his leg to hold him up and I will try to drive a metal spoke through his torso to make him stronger.I need to saw his leg off to allow me to add the bar. He is old and weary and will eventually hold the hand of the young girl figure that is near complete. I imagine him holding her back as they run towards their destination. He is a burden to her, yes, but he does not stop her on her journey. She turns back towards the gallery visitor in the doorway, pivoting at the waist while her legs still move forward. She beckons the visitor to join her, to move with her, not to compromise her progress, to join h
er on her hampered journey. have made a plan of the exhibition space on one of my drawing boards. I need to be able to see how the figures would work together in an enclosed space. Will there be room to walk round them – will they interact with each other or, indeed, with the gallery visitor. I use pipe cleaners to make scaled models of the figures as I imagine them to be when they are made. Five figures stand well together. I think any more would be too crowded – especially if there are a few visitors in the room as well.The pipecleaner figures are pretty pleasing and I wonder should I do the whole exhibition with tiny pipecleaner sculptures – – an exhibition for another day perhaps.
May 2008
This week I responded to ANTOBARs invitation for artists to submit a biography and an exhibition proposal. I wrote:This should be an exhibition of optimism and beauty, just a stones throw away from the sea and prevalent global issues.If selected for the opportunity, I would immediately begin work on a series of life size figures – visiting beaches, collecting and cleaning string then creating the pieces.To afford the gallery visitor some breathing space, and because the string comes to me from the sea, I would like to build a reference to this into the exhibition – this may be achieved by introducing some large seascape paintings or perhaps by introducing some other media. The details of this aspect would develop as I worked on the project and considered the dimensions and nature of the gallery space.To be honest, selection for this opportunity is a daunting prospect. But I suspect that it would be a significant event in my career as an artist. This is the opportunity, the tide, that An Tobar is offering and I, for one, would love to take it at the flood.
The name of the exhibition would be:There is a Tide
There is a tide in the affairs of men,
Which, taken at the flood, leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries
William Shakespeare, Julius Caesar
