TRACK

Oxford and Nottingham

Month: February 2015

Back to the futurism

In 2009 in support of my initial M.A. proposal I wrote this statement….

Nothing much changed..:-)

amanesia

Shaun Belcher November 2009

ANAMNESIA

I am a somewhat unusual case to be writing about my ‘fine art’ practice. I began life ‘post-Hornsey College of Art’ in 1981 having successfully gained a place on the Royal College M.A. in Painting but sadly was not so successful in terms of funding. I continued as a painter and printmaker until a move to Edinburgh in 1993. There I became a published poet. A return to Oxford in 1996 then saw a period of fine art mixed with song-writing.

In conventional terms this kind of genre-hopping is frowned upon as not being quite serious enough. Thankfully I have enough USA based models to not worry too much about that e.g. Musician and Architect and Fine Artist Terry Allen to name but one influence. However whatever my ‘practice’ entailed throughout this period one thing remained constant. My commitment and seriousness about what I was depicting in whatever medium.

Throughout my ‘art-working’ life some things have remained stubbornly, one might even say obsessively’ constant. Be it in digital images as recently or in drawing or poetry and song I have remained constant in delineating a clearly ‘map-able’ terrain. This terrain extends about 5 to 20 miles in radius of my hometown of Didcot in Oxfordshire, England. Always the poor relation of the illustrious centre of learning that resides but a stones throw away.

There runs a hard core of intention throughout which draws on politics, ecological thinking and that obsessive returning to notions of ‘place’ and ‘landscape’. I regard my work as being a mapping of constant themes which recur sometimes years later. The River Thames is one theme the Berkshire Downs another. Local folk tales and oral literature mined from local libraries another. A recent song ‘Hanging Puppet’ drew on one such ‘tale. In fact one could describe it as artistic ‘Anglocana’ to differentiate it from Americana. I have written well over 2000 songs over the years..Mostly these are recorded in lo-fi versions and only really coming to life when in the hands of other more talented musicians (see the Moon Over the Downs CD 2003). Poetry has appeared in various magazines and in the Scottish anthology The Ice Horses (1996). I currently have at least 4 unpublished complete books of poetry on the shelf. One could describe my work as multi-disciplinary with a strong streak of green politics colouring the waters beneath.

I have drawn on some clear influences in writing and art. Seamus Heaney’s concept of a personal ‘Hedge School’ going back to John Clare is one thread. My forebear’s personal involvement in Agricultural Unions is another (see Skeleton at the Plough poems). I also am influenced by a ‘working class’ sense of writing picked up from Carver and Gallagher and other dirty realists. In song almost any Americana act would suffice. I am not American but I have strong American influences going back to Thoreau and Walden lake. To try and build an alternative ‘English’ approach I have increasingly been drawn back to the English Civil War when the notions of science and arts were more fluid and interchangeable. I have recently purchased a reproduction of Robert Plot’s Oxford a marvellous Natural History of Oxfordshire from 1677. In it one finds specimens such as ‘Stones that look like Horses’…wonderful….

It is this kind of merging of scientific natural history and folk-lore terminology that I now most interested in. Both in poetry (see Downland Ballads) and artworks (see TRACK..2009)

So how does theory inform my practice? Well I see no distinction between the various arts. I am widely read in poetry and song and that informs my practice whatever I do. At times I have also used cartooning as an ‘art criticism’ vehicle as well as penning many art review pieces. I regard both theory and practice as being essential parts of art education and indeed my own life-long learning. One would not exist without the other.

One needs time to absorb and think not just create. I return again and again to my greatest teachers. People I did not know but who showed by example. Sorley Maclean and Norman McCaig both fine Scottish poets and the female war artist Ray Howard Jones whom I had pleasure of meeting…a friend of the artist David Jones. Wonderful inspirational people…

Victorian Transmedia – Searching for a definition?

talbotreadingThis blog contains all the media related research I have conducted since the inception of my ‘multimedia’ M.A. by registered project back in October 2010. Then the focus was on contemporary tablets and software and a geographical location. Since then I have fairly logically worked backwards towards the creation of the media culture and found myself increasingly interested in the Victorian period.

For want of a better title I have renamed the blog ‘Victorian Transmedia’.

For me the period from the invention of photography through to the birth of commercial cinema is fascinating and it where most of my attention been in terms of genuine research.

So this blog will continue to reflect my genuine interest in the impact of technology on and through the arts in the Thames Valley from about 1825 -1910 ( The Leverhulme application slightly modified that focus for funding reasons.)

I am currently consolidating this research angle into something more solid and will continue to seek support for it outside of NTU SAD.

None of this research will in future be attached to NTU and I have created a new research profile on academia edu as an independent which says it all really.

The new profile is here:

http://independent.academia.edu/ShaunDBelcher

 

 

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