Friday, 6 April 2018

Makry Gialos post cards, an alternative set of images.



These are all from 2017, and are a selection of images that would be suitable for a post card.
They are all from Makry Gialos, Crete, and were painted on post card style watercolour paper; I just never got around to sending them.

I’m not too sure however if this style postcard will ever replace pictures of ruins, donkeys or women and men dressed in black  


all images ©ted ryan 2017































Makry Gialos - Sand Sea and Sky. Paintings 2015- 2017


Sand, Sea and Sky 

Sitting on the beach in Makry Gialos, Crete, over a three-year period, 2015-2017.watching the sea. Always the same place. 


I started the water colours in 2015 to solve a problem I’d been thinking about ever since I’d been to the Agnes Martin exhibition at the Tate earlier in the year.
I’d seen her Arizona paintings and while I assumed they were influenced by the landscape where she lived I kept asking myself, were they abstract landscapes? Blues, yellows, pinks delineated in horizontal bands across the canvass.

The pink bothered me, there was pink in her paintings, was there pink in the bright sunny vast vivid colour wilderness of Arizona landscapes?
In my mind, never having been there, there could be no pink so where did it come from in Martin’s paintings?

Then one day, sitting on the beach in Marky Gialos looking out to sea there it was.

It wasn’t a bright Mediterranean blue day, it was a slightly overcast, heavy, humid, southern Crete October day.
Pale grey clouds, grey seas and a pink hue, not a vivid pink, a restrained pink, hanging delicately in the clouds.

Capturing these colours was another thing. In the vastness of the sky settling down onto the sea how could you capture such an image?

Martin's work provided a solution. The delineation of her work provided a abstracting  compartmentalisation of what I was seeing; 
sand, where I sat,
sea at the end of the sand 
sky topping it all off.
Three horizontal bands of colour, delineated across the page. 

Over the next three years I sat in the same place, not always at the same time, painting the same three bands.

2015

9th October 


9th October 


9th October 


11th October - Pink appears for the first time 


11th October 


11th October 


11th October 


12th October 

12th October 

2016

26th Sept  


26th September 


26th September 


26th September 


no date given 


no date given 


no date given 


no date given 

2017
no date given 

2nd September 14.00


2nd September 16.00

2nd September 16.40




all images ©ted ryan 2017









Sunday, 25 March 2018

Lifestyle Magazines, Tanzania, Tommie Smith, John Carlos and George Jackson Paintings 2017, Number 1

Lifestyle Magazines, Tanzania, Tommie Smith, John Carlos and George Jackson 

In 2011/12 I started a series of drawing based on the contents of a popular lifestyle magazine. The magazine promised the “hottest fashion and beauty buys that are green and gorgeous”

Articles promoted 'green and 'country' living with models wearing dresses priced between £700 and £965, sandals of wood or shoes of leather priced between £450 - £500 and a £3,600 watch. Celebrities were depicted living a ‘native’ lifestyle with a host of adverts for face cream, sun cream and cereal for health eating and life changing experiences.

Amongst the articles was one titled 'The Tribe' promoting an eco-lifestyle amongst the Masai locals in Tanzania, flights to there from £675. 

The article included photographs of models, described as 'warrior princesses', running in silk and cotton dresses, costing between £1,365 and £1,600, and wearing expensive jewellery alongside ‘locals’. The dress patterns  were, according to the article, based on traditional clothes - the locals wore 'traditional' clothes, carried spears and shields.  

I’d always been interested in the 'incongruity'  of ‘social’ articles in such lifestyle magazines but this one stood out. There wasn’t just one but a whole magazine full of articles about ‘social issues’ with models wearing expensive clothes, interspersed with adverts for some of the biggest brands of makeup, jewellery, creams and body adornments.

My substantive paid work got in the way, and the drawings just sat in a file. In 2017 I dug them out again and began linking them to two reminiscences.

The 16th October 2018 will be the 50th anniversary of the 1968 Olympic 200-meter final in which Tommie Smith won in a world-record time of 19.83 seconds, John Carlos was third with a time of 20.10 seconds. Australia's Peter Norman finished second with a time of 20.06 seconds.

The race itself would have probably disappeared into Olympic history but for the medal ceremony. The Black Power salute given by Tommie Smith and John Carlos meant that they would never represent America again but the image and their place in Black history was to live on. I can remember this event and the fuss in the media. In 2008 they were awarded Arthur Ashe Courage Awards at the Excellence in Sports Performance Yearly Award to honour their actions. 

In 1974 I read Soledad Brother, The Prison Letters of George Jackson, a book I still have. 
“When he was eighteen, George Jackson was sentenced from one year to life for stealing $70 from a gas station. In all he spent ten years in prison, seven and half in solitary confinement. In 1970, when he was 28, he was charged with the murder of a prison guard in Soledad Prison and faced a mandatory death sentence.. On 7th August 1970 he was transferred to San Quentin. During the course of a prison riot George Jackson was killed on 21st August 1971”
Soledad Brother – The Prison Letters of George Jackson, 1970 

The book had a profound influence on my political thinking

In 2017 I began putting together these three stimuluses, I haven’t quite got there yet but these drawings and sketches are part of that journey.   

The work is still in development but is has moved forward and will be completed this year.