This morning I woke with U2’s ‘Sunday, Bloody, Sunday’ playing on the radio station in my head. I’m not a U2 fan and I’m not so interested in the politics of the past – however, we live in a culture where we keep one eye firmly on the wake of the ship rather than looking ahead (for new land), because we believe that the future is or is likely to be a continuation of the past. That is what happens here and in the making of any conventional artwork. You look at what is unfolding and you adjust it accordingly. Any looking to the future is the visualisation you have in your ‘mind’s eye’. This itself might be likened more to archaeology, where what we are doing is uncovering what lies within, by the processes of art – but it is also an act of forming, creating, putting together in the ‘now’.
‘The big liberation’ as I called it after John Holden passed comment, was done in an effort to try working freely on a bigger scale. Not knowing what I was going to do, I made a 2m x 1.5m canvas and bought some household paints. At 11 in the morning I went to the Glass Blower on the Regent’s Street side of Soho and took some Dutch courage (a bad habit). Then I did this, with some whacking great brushes. The play of black and white marks is what set in train my interest in the foregoing and some other works, where I was taking a much closer look at ‘the mark’. This itself originated during the process of life drawing at the Royal Academy Schools.
Painting by Alan Dedman, done in 1986
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