A Seminar with Elly Thomas on the Art Practices of Eduardo Paolozzi and Philip Guston

Wednesday 28th February, 2018

Myself embedding a physical approach to materials over a set duration of time

Tuesday 27th February 

  • I attended an excellent seminar at The University Creative Arts, which was conducted by a lady named Elly Thomas. It was an hours talk surrounding the art practice of two artists Eduardo Paolozzi and Philip Guston.

I am going to give detail of the themes and ideas which I held a connection with when understanding about both artists practices. How an insight into techniques and methods used by both artists, resonates onto my own condition of making.

The Play and Artistic Processes

Working with forms which were / are originally found in order to combine a whole new condition to what the form could possibly be.

A repetitive Motion – Ignites the soul of play

To work with a repetitive motion not only installs an understanding of what the job entails, but one can become aware of what becomes, introducing a passion and interest to what has been created.

Any configuration can make sense – An understanding can be put to anything. It does not matter if someone relates a different meaning to the previous person. Surely it is a  good thing for a creative method to be subjective, as it opens up new questions and entries.

An Obsession 

An obsession with anything allows one to become ingrained in whatever is so intriguing.  The possibility of the subject becomes enormous, as it becomes less about its actual being,  and instead becomes more interesting as a subject of curiosity.

The Creative Battle

It is a contest between the artist and the work

A battle which ignites an engages        A contest which provides an unforeseen result

The Game Of Playing

The Contest means to play – (It is a game)

It does require an opponent  – displays actions of (Accidents) – (Changes) – (Erasures)

It is an active process similar to a sporting event –  An engaged physical activity which needs two sides –  A game where there must be a winner

The winner is the result which has been created through the unforeseen

Play & Spirit

To Dare is to do

          To Take Risks

The informer could actually forget about playing, and instead be caught in the moment.

To formulate set rules in order to build structure which has the possibility to change.

Studio Tactics (How I work in the studio)

  • It is more about the process rather than the finalised seen result.
  • The work comes about from rules of a game, rather than the artists own understanding.
  •  Each given mark to the surface provokes an activation for the next mark.
  • Forms which act on one another. It is like wrestling where this battle ignites a pulling and pushing tension.
  • An artist who may take a wrong turn allows a beginning for new openings and passages.
  • Creating a more complex association to making.
  • This tension becomes heightened due to this process which fulfills an unknown outcome.
  • A form which becomes caught in a cycle. It might take a stage for resting, before being kicked again and inserted back into this ongoing process.
  • To combine and then recombine
  • To reuse and re – contextualise
  • To engage in this playful activity
  • The studio does not just become the studio – It is seen as the site for making – It is the playground where I play.

A problem can be a good thing

Play is associated to a rapid motion of building through time 

A continuous cycle of engagement

A battle between myself – materials – form and time




A Godalming Connection

Sunday 25th February, 2018

A Godalming Connection (Final) Home Studio pic 1

A Godalming Connection, 2018, Plastic, Woven Polypropylene, Dirt, Sand, Paraffin wax, Varnish, Gloss, Acrylic, Marker (Photo taken from my Alton Studio)

This work demonstrates a narrative which is built from the context and history of the product. A journey which can be understood by the active gestures and marks created by the materializing of an unknown process, and the appliance from the artist .

• The title for this work came from a direct association to the objects / surfaces I work with. This was connected from the surface / objects past life, where it was actually sourced from. I attach a connection from its past existence to its present day presence.

• The formation of this work relates to how I work when on site as a builder. For example when I am normally finished with a particular object or surface I fold and cushion all sides together. I guess this action is also implied from my actions as an artist. I find that both skills and methods of working integrate into both crafts

• The form has happened from this action. A much freer and looser approach to moulding with objects to what I have been used to in earlier works. A stronger emphasis with chance operations has been installed in my practice and this can be noticed in this work A Godalming Connection.

New demonstrated methods of chance possibilities installed in this work

• A pouring act which determines new outcomes of layering.
• How would this Collison of elements materialize?
• Where would the wax land? If it lands would it last, set and mature.
• By pouring the wax at a height creates a movement of no control. The wax becomes hectic and chaotic. In some methods of working this would be seen as obscene, but for my technique it slots in perfectly

The Recording & capturing process submitted through less restrictions

• Acrylics and markers used to confront the surface and activate this exercise of documenting
• Black Marker
• Titanium White
• Cadmium Red
• Yellow Medium
• Cadmium Yellow

A Godalming Connection – (Close up’s) –  (Photos taken from my Alton Studio) 

Example of applied process

• Black Marker to start – start the process of documenting and recording the projected shifts made from an original unknown formula.

• If I take a break – Have lunch – Have dinner or need the toilet, I stop whatever I am doing. That particular media of colour is put down and then the following colour next in line takes over.

• What is it I am looking for? I am hoping that my imprint and gesture becomes less confined, less intimate and precious. I want a freer, expressive less controlled action to gleam through. – Already there have been connotations and similarities to a bright playful document reminiscent of child play. Also a connection to graffiti – Sharp edged lines cutting into the surface, a bright flurry of colours – Marks which display no real link apart from an insertion onto the foreground of the surface.

 A Godalming Connection has notions towards graffiti art as it has a scratchy less deliberate look. A design which has no direct control, with a very bright vibrant feature. For me the recording process is less polite and instead more explicit.

A Godalming Connection – (Photos taken from my Farnham Studio)


Aggregated – Cemented – Challenged (A new look formation showing a contrast between the uniformed and the chaotic)

Friday 23rd February, 2018

‘Aggregated Through Time’ – ‘Cemented At Last’ 

‘Challenged At The End Of The Day’ – New Formulated Structure (Without lighting)

For me to uniform 3 artworks together means to organize a regular formation where there is a relationship materializing.

For me to insert chaos into the composition of  art means to ignite a feeling of disorder and confusion.

  • I was eager to play around with the many possibilities of displaying these works together. I have sampled with a few structural set up’s but none which demonstrated this feeling of the work being attached and detached or connected and disconnected.


  • In my studio in Farnham I wanted to experiment with this idea.
  • How the work could be seen in a neutral space, but where the space becomes as much of the work as the forms themselves. How negative space becomes positive space, and has as much of a per formative ability as that shown by the structural presence of the works.


  • To do this I worked with:
  • 3 different types of clamps – Reinforced building nails – Standard wall nails – Headless nails ( I wanted to see how each inserted line in space held its own configuration)
  • 2 different types of connectors – Reinforced building line – Polypropylene beaded rope (Not only a different distinction of colour but a contrasting look in texture and durability)


  • I see the works as actors where they behave in such a way it entices an immediate connection between themselves and the audience.
  • In previous displays the work has looked approachable but in this formation there is a barrier between themselves, space and the audience. – I guess this is what creates the confusion and disorder in the work. – All 3 works could be adjudged for being disruptive and rebellious.
  • I guess it is down to an individual take on the work.


  • Are they holding up a field which constructs a blockage between work and audience?      OR
  •  Are they just playing and utilising the free space which has been given to them?

Aggregated Through Time’ – ‘Cemented At Last’
‘Challenged At The End Of The Day’ – New Formulated Structure (With lighting)



Open Art Exhibition (Local Artists Wall) – At The George, Alton, Hampshire

Monday 19th February, 2018

Ungreened Paulin and Untrialed Paulin featuring in the exhibition 

Very excited to be exhibiting my art work in my home town once again. For me it is important to showcase my artistic talent in and around my local area!

  • The last time I exhibited my artwork in my home town it was for a Open Art Exhibition at the Allen Gallery. This event was of a similar process as it gave an opportunity for local artists to showcase their artwork.

Opening – Sunday 18th February, 2018   7 – 9 pm


  • The event came about from a progression.


  • The owners of the George were / are interested in displaying local artistic talent. Not only does it give a new dimension and feature to the setting of The George, it enables artists to include works which gives a platform for new thoughts, ideas and feelings.


  • I was invited to be a part of the exhibition the week leading up to the opening. – Instantly I said yes please, as for me I believe it is always important to get your art out there. It should never be hidden, it must always be seen and expressed to the world.
  • Ungreened Paulin and Untrialed Paulin were included simply because they were at home in my studio currently doing nothing.
  • I was also keen to experiment further with how each work could be displayed.  – I was assigned to a wall space which had great height and space. Right away I knew that I wanted to present both works in a suspended fashion.  – Where sculptural and painterly elements can still be witnessed. For this to happen steel reinforced nails acted as a clamp giving a connected attachment of Polypropylene beaded rope.
  • I was very happy with the set up of each work. – If I had to take one improvement it would be lighting. As during the Opening or when it gets darker outside, the works are not seen in the same light. To enhance this I feel that spotlights would install an impact to the work.

It was a pleasure to be involved in this art event, It gave me the chance to meet other artists from the local area, where I was able to extend communications and gain new contacts. Full credit to all members of The George for organizing a wonderful show! 

 Photos of the opening event –  Open Art Exhibition (Local Artists Wall)


Tuesday 13th February, 2018


‘A Constructed Residue Stemmed From Stashed – Part 1’ – 2018 – Corrugated plastic, Paraffin wax, Microcrystalline wax, Oil pastels, Varnish, Gloss

This show gave me the opportunity to display a work which originated from a process which was created through an existence of a previous work. 

I see this as a conjoined effect –  where two works supported one another – This is a happening through a moment of time – Almost like an evolvement which has entered through a means of no authority, control or authorship from myself

  • Installation of the show & The opening of the show commenced on Tuesday 13th February 2018.  The show will run for two weeks, with it finishing on Tuesday 27th February.


  • The show featured all artists studying on the MFA course at the University Creative Arts, Farnham. It was a great collaboration experience, as we all had to liaise and work together through a short duration of time. It really felt quite spontaneous, as the only planning which was involved was the designated area each artist was given. After this it was all systems go, which suited me. In fact I relished the chance to install a work which displayed this idea of a moment / happening, appearing in space.

It was an easy decision to come up with a title for this piece, this was because it had already formed itself through the existence of a previous work Stashed – Part 1. This occurred through the staged process system which was designed when constructing Stashed – Part 1. Due to this I felt it was important to attach  the title somehow.

  • Constructed – To build and put together – To figure and arrange
  •  Residue – What is left – A remainder.
  • Stemmed – Part of a word to what inflections are added – To originate from

For me this show was all about becoming more ambitious, taking a risk and challenging my usual concepts when it came to exhibiting.

The original idea was two include both corrugated plastic sheets as two separate works. The first would be seen as a painting, where it would be fixed against the wall, in a horizontal format – I was looking to get across a notion of the viewer gazing into the surface, where it is almost acting like a screen, where the marks on the surface become the visual element.

The second sheet would be suspended from the wall, where it suggests a sculptural form inserting itself in space. I wanted to give sole responsibility to the work, by giving it the right to shape itself, and provide an expressive attitude to the audience. The only input I have is the installing of the support attachments, after this the work chooses how it wants to be seen.

  • The final outcome and decision for the work was to combine both sheets together. So they would in effect act as one whole piece. I was interested to see how they would compose together. Due to the lack of space, I had to reign the work in slightly, and not let it take over to much. So to do this I had to be more restricted with the positioning of the support attachments.  Overall though I was very happy with the installation, and what this piece has to offer as a work of art. I look forward to experimenting further with it, where boundaries are not included, giving the work the chance to grow, and really become a statement of intent.