Page 51 - Barry McGlashan | Natura Naturata | 2020 | E catalogue

reference reference it it more than once in in in this exhibition Tarkovsky also references Bruegel in in in his his his his films There are sequences where where the the the camera drifts around his his his his childhood home somewhere in in in in in in the the the old countryside of his his his his native Russia The The light is is is is descending to to dusk very very quiet very very still Out through a a a a a a a a a a a a a a a a a a window and into a a a a a a a a a a a a a a a a a a lush blue green wood wood there is is is is a a a a a a a a a a a a a a a a a a soft repeating birdcall birdcall I I think maybe a a a a a a a a a a a a a a a a a a wood wood pigeon or collared dove? I I remember that birdcall birdcall as a a a a a a a a a a a a a a a a a a child it’s still one one of of of my my favourite favourite sounds and this is is is one one of of of my my favourite favourite sequences in in in in film We share so so so many things despite our our our differences There’s a a a a a a a a a a a a a a a a language which we are are all all familiar with it it it it it allows for short cuts Film is is is is very good at at that painting is too 13 Flight oil & varnish on panel 30 5 x x 23 cms 12 x x 9 ins
This is is is is really a a a a a a a a a a painting painting about pictorial references drawn from my memory of of a a a a a a a a a a scene in in in in in in Tarkovsky’s film Mirror In this sequence Tarkovsky Tarkovsky gives us us his his his version of of Bruegel’s Bruegel’s painting painting Hunters in in in in in in The The Snow A child struggles up the the the the snow covered hill and and and and looks back over over the the the the valley as as as though across time just as as as the the the the Bruegel’s Bruegel’s hunters did The The landscape landscape stretches out like a a a a a a a a a a a a a a a a a a a map unfolded the the the the the the concept of of ‘weltlandschaft’ or or ‘world landscape’ which was so often deployed by the the the Flemish Master The first time time time I I I saw it it it it in in in in in in in the the the film I I I hadn’t been expecting this and and and and found it it it it quite startling Here I I I also included a a a a a a a a a a version of Bruegel’s soaring magpie it it it it flies through my paintings from time time time to time time time 14 The Planthunter oil on panel 28 x x 33cms 11 x x 13 ins
I’ve always been fascinated by travellers and and what motivates them - that endless pursuit of of something It’s a a a a a a a a a a a a a a a a a a a very very romantic notion My wife was a a a a a a a a a a a a a a a a a a a a a a a a gardener in in in in in in her earlier life so so I’m very very lucky to to have a a a a a a a a a a a a a a a a a a a a a a a a nice garden garden and and and of of of of of of course shelves of of of of of of books on on on the history of of of of of of that subject They are full full of of of of of of images of of of of of of intense looking bearded men standing amongst jungles of of of of of of plants and and and and flowers Beautifully aged watercolours exquisite engravings and and and and primitive photographs from an an an an an earlier time and and and place My painting is is responding just as as much to to to the the object of of those images as as to to to the the subject itself 15 Stranger oil on canvas 30 5 5 5 x x 23 5 5 5 cms 12 x x 91⁄4 ins
This painting painting went through many changes but but I I was was in in in in in in no no hurry The stage was was set but but there were no no players I I had a a a a a a a a a a a a a a a a a a a small painting painting painting on on paper of of a a a a a a a a a a a a a a a a a a a a a a a a a a figure actually a a a a a a a a a a a a a a a a a a a a a a a a a a silhouette of of Henry Fonda from John Ford’s early western ‘My Darling Clementine ’ Somehow that that unknowable shape that that stranger seemed to fit this painting painting which had been so so elusive for so long 16 Moon Tree Lake oil on on panel 24 5 5 x x 28 5 5 cms 93⁄4 x x 111⁄4 ins
I I enjoyed the the reduced nature of this painting: how little information does the the image need to to to still succeed? It’s a a a a a a a a a hard thing to to get right but that pictorial purity through reduction interests me more more and more more 17 Theatrum Mundi
oil on folding panel 70 70 5 5 x x x x 60 (closed) 70 70 5 5 x120 cms (open) (273⁄4 (273⁄4 x x x x 233⁄4 ins
ins
closed) closed) / (273⁄4x471⁄4ins open) open) (see pages 26-29)
18 The The Old Man and The The Sea oil on canvas 24 5 x x 28cms 93⁄4 x x 11ins
The old sailor looking to sea I wonder where he he he is is in in in his thoughts lost in in in some private place far away 19 Horse on on the Hill Hill (A Hill Hill in in England) oil on on panel 30 x x 45cms 113⁄4 x x 173⁄4 ins
I I I found found the the the place of of this painting long before I I I found found it’s subject Something I’ll do do in in in in in in in in the the the studio is is lay down paint paint on on a a a a a a a a a a a a a a a a a a panel and and move it it it it around using several methods until things begin to to to to suggest themselves out of of of that surface The ‘landscape’ element of of of of what I I I was was doing began to to to to to to make sense to to to to to to me me me me me but when I I I tried to to to to to to occupy it it it it with a a a a a a a a a a a a a a a a a a a a a subject nothing felt right At the the same time I I I was was was listening to to to to to to a a a a a a a a a a a a a a a a a a a a a a a a a a lecture by one of of of of my favourite artists of of of of today the the Danish artist artist Tal R and he he he he he he he he was was was speaking about how he he he he he he he he is is is is is is is often drawn to to to to to images images he he he he he he he he shouldn’t be as as as as as as a a a a a a a a a a a a a a a a a a a a a a a a a challenge mainly
for reasons of of of of taste or or or or or or pictorial prejudice One of of of of the the images images he he he he he he he listed was was was a a a a a a a a a a a a a a a a a a a a a a a a a a a a a horse on on on the the horizon: it is is is is is is just too ‘Hollywood’ or or or or or or or or or idealistic I I I I knew exactly what he he he he he was was getting at at I I I I have a a a a a a a a a a a a a a a a a a a a a a a a list list list of of of of my own But I I I I also had an an image image of of of of a a a a a a a a a a a a a a a a a a a a a a a a a a a chalk horse horse which I’d been meaning to to use for for for a a a a a a a a a a a a a a a a a a a a a a a a a a a while but couldn’t find a a a a a a a a a a a a a a a a a a a a a a a a a a a home for for for With the the challenge to to make a a a a a a a a a a a a a a a a a a a painting of a a a a a a a a a a a a a a a a a a a horse horse horse on on on a a a a a a a a a a a a a a a a a a a horizon laid down these things all all coalesced and something here worked for for for me me me me I I I I I later discovered the the the the the the horse horse was the the the the the the Osmington White Horse in in in in in in in in in in Dorset its rider is is apparently King George III So then having found found the the the the subject I found found the the the the place again: a a a a a a a hill in in in in in England 20 Rain oil on panel 30 x x 40 5 cms 113⁄4 x x 16 ins
I I recently watched the the very beautiful film Sátántangó by the the Hungarian director Béla Tarr It seems to to be be raining
continuously throughout the the film film and and at at at 71⁄2 hours it’s a a a a a a a a a a a a a a a a a a a a a very long long long film film Thankfully I I always enjoy the the rain and and I I wanted wanted to to make a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a painting painting about that that There’s a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a long long long scene in in in in in in in in in in in in in it it it it which follows a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a girl walking along a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a pathway in in in in in in in in in in in in in the rain and it it it it almost becomes a a a a a a a a a a a a a a a a a a a a a a a a a a a meditative thing thing In my painting painting I I wanted wanted to to capture that that indistinct moment Something small in in in in in in nature: no great event but also somehow vital