I don't know which is scarier, a blank canvas or this blank page. They are equally intimidating, though for different reasons. We all know that beginning a painting or drawing can be a daunting prospect, with many details to be worked out; composition, tonal values, placement of the main subject, etc. The problem with the blank page is somewhat different, though it still presents a fearsome prospect. Just as with painting, research is essential to make sure the facts are there and accurate. Of course when writing something like this blog, I tend to use a "stream of consciousness" approach, as I don't often put historical details into the mix. Still, I'll ponder all week long over how to start out and how to build the text. Just as with drawing, I'll often change, move, eliminate words, passages and whole paragraphs in order to get the effect I'm looking for. A long time ago in a galaxy far, far away, I wrote a novel that was not published because it was "too outlandish" in the eye of the publishers to whom I sent it. It had to do with terrorists hijacking an airliner by hacking into its electronic flight control systems. At the time, the publishers scoffed at the idea and that was that (early 90s). I have not done much fiction writing since, not least because I was permanently jet-lagged from my day job as a long haul pilot. For the most part, my writing efforts have been technical, which requires the same sort of research and effort that composing and completing a good painting does. Details have to be correct and verifiable if one is going to satisfy the Aviation audience, who are not shy about pointing out that the shape of an inlet is not quite right or that the written description of a system doesn't quite cut the mustard.
In my opinion, one of the things that sets really good aviation art apart from the mediocre is the attention to atmosphere and sense of "rightness" that is created. As with everything else, the devil is in the details. I'm not talking about photorealism, but the total effect of light, shadow, motion etc. There are plenty of technically accurate paintings out there, that are correct in detail, but do not spark that feeling that you are there in the midst of the action. Some of the most effective and evocative aviation artworks that I've seen are those that, while not going to please the rivet counters, produce an emotional response, the same way that the film "Apocalypse Now" is, in my mind, the most evocative film about the Vietnam war. It brings to my mind the total surrealism and futility of that particular period home to me. I was there, and while other films may be more technically accurate, and have more explosions and battles, that movie takes me right back to the sheer insanity in a way no other attempt at chronicling that era has so far done.
This creates a problem for me in that my entire experience thus far has been very left brained, dwelling on procedure, technical accuracy, adherence to rules and regulations. This, unfortunately, butts up against a very strong desire to 'loosen up' my paintings and go for a more emotional approach. I'm not complaining, mind you, but it is a challenge that presents itself every time I stare at a blank canvas. I'd love to illustrate this with a few examples, but in the absence of permission from various artists, I'm not going to. If anyone out there would be willing to have me use their artwork to elaborate on this theme, please let me know and I'll re-visit the subject in a future post.
In the meantime, here's the latest work in progress shot of my painting for the Tangmere museum. Starting to add some ground crew and figuring out where to put some more ground equipment. Quite a way to go yet and fairly slow progress as I'm still doing some (virtual) safety audits and courses for various airlines.
Slowly, slowly, catchee monkey. Progress is being made, gradually.
As usual, here are some links to art-related events that are available.
Though the current run of tickets has sold out, the Tate will put you on a list to be notified when the next batch are available in September. This is for the Yayoi Kasuma Infinity Mirror Rooms exhibition: https://www.tate.org.uk/whats-on/tate-modern/exhibition/yayoi-kusama-infinity-mirror-rooms
As usual, Exhibition on Screen has plenty to choose from, including this presentation on Canaletto & the art of Venice: https://www.seventh-art.com/shop/canaletto-the-art-of-venice-at-the-queens-gallery-buckingham-palace/
The Royal Academy has a talk coming up on the 12th of this month: A conversation with Lubaina Himid: https://www.royalacademy.org.uk/event/lubaina-himid-ra-in-conversation?utm_source=wordfly&utm_medium=email&utm_campaign=AE_GaryHumePosters_d_MARKETING_070521&utm_content=version_A&sourceNumber=636859
Stella Grace Lyons as a few more talks coming up if you're interested. https://www.facebook.com/stellagracelyonsarthistory
Have a good week and stay safe as we move out of lockdown.