About Robin

Occasional painter. Golfer. Fascinated by humanity. Passionate about beautiful stuff, the people who create it and its narrative.

Jomon Spider Kit by Paul March

A fitting tribute to Paul March’s “Jomon Spider Kit” completed in 2013 is that it is currently exhibited at the Ariana Museum.  The team from Talking Beautiful Stuff go to see it. We find a huge gangling arachnoid laying in a corner as if dead for weeks. “Wow!” says Angela on seeing it. “That is so cool!”

Ariana Spider 5

JSK is composed of smooth monotone clay and chunky stainless-steel links. The workmanship stands out. The authentic spidery whorls on its thorax and abdomen make for an appealing biological contrast with its metallic components. The whole is elegant but nevertheless provokes discomfort.

Ariana Spider 2

I want to pick it up and rattle the legs. I even house a tiny desire to return at a later date with several metres of fishing line to revive it as an enormous spider-marionette.

Ariana Spider 4

I am intrigued and somehow intimidated. I would like an insight into what was in its creator’s mind when he put it together. I meet Paul at his Geneva studio. I am surprised to see no other completed works there. The surfaces and walls are taken over by – for want of a better term – a variety of bits and pieces; they include recognisable parts of what might be JSK2.  It seems his creative process involves cycles of tentative cutting, moulding, building, matching, linking, pressing and melting.

We chat. He has a ready smile. This former clinical psychologist from UK came to Geneva in his late thirties. He studied fine art and developed a particular interest in ceramics. We chat some more. I ask him about his influences. The smile broadens and he laughs at the banality of my question. An hour and a half later I am no closer to an answer. The discussion has ranged from subliminal fears (arachnophobia?) to art as a Dawkinsian extended phenotype. I am out of my depth! Later, I confess that I have not grasped what his creative world is about and that it will be difficult to write about his work. He is delighted! He would have been disappointed if I had grasped it! Whatever is inside this extraordinary mind and the creative process it drives, it has produced JSK. I know I’ll never understand. But now that I understand that I’ll never understand, I simply think “Wow! That is so cool!”

WOW! (Again!)

Nelson, New Zealand. A cute little town at the north of the South Island. It has become a bit of a destination. I visit the World of WearableArt™ and Classic Cars Museum to see the winners of the  2013 World of WearableArt™ annual show held in Wellington. WOW!

To walk into the museum is to be bowled over (again!) by the artistry, attention to detail and pure hard work that has gone into the pieces. The imagination behind them is staggering. In a previous post, I described the World of WearableArt™ as “one of the more astonishing testaments to the human impulse to create beautiful stuff.” I haven’t changed my opinion. Have a look at three of last years winners. (And don’t you love the pink dress made out of fibreglass?)

WoW Again 1

25th Jubilee Guest, Margarete Palz, Germany. Photo credit: World Of WearableArt™ Ltd

WoW Again 2

Inkling, Gillian Saunders, New Zealand. Photo credit: World Of WearableArt™ Ltd

WoW Again 3

Chica Under Glass, Peter Wakeman, New Zealand. Photo credit: World Of WearableArt™ Ltd

The World of WearableArt™ seems to get bigger and better each year. The charming and helpful team at the museum tell me that there are plans afoot to make the show a truly international phenomenon. I wish them luck… but I don’t think they need it. There’s a certainty about the stellar destination of this enterprise. When the show goes on the road, I really hope we see it in Geneva.

Glass House Mountain Mosaics

Glass House 1

The Glass House Mountains National Park in South-East Queensland, Australia is spectacular. Thick gum-tree forest stretches as far as the eye can see. The mountains themselves are the remains of the innards of massive volcanoes dormant for millions of years. These hills – protruding from an otherwise flat Australian landscape – carry special significance in Aboriginal mythology.

Glass House 2

The visitor centre on Mount Glass House is beautifully laid out with explanations of the geology and helpful guides to the wildlife. In the blistering heat, most animals of interest stay hidden. Apart from the view, what catches my eye are charming little mosaics set into the discrete concrete walk-ways. This is a clever addition that encourages the visitor to look not only at the far horizons but also at his or her feet.

Glass House 3

There is no information, either on-site or on-line, about the “Who” and “When” of these mosaics. The unknown, expert hand has carefully placed fragments of tile in keeping with classical landscape colours. The rusty tones of the vertiginous rock faces are captured by a surprising variety of hues. This picky work appeals to me. There is something delicate here. You don’t really want to walk on it. As I so frequently find, the person who brings beautiful stuff to public places goes unrecognised.

Glass House 4

Glass House 5

Is there a little recall of aboriginal paintings in the foreground here? At least, one ‘roo came out to complete the picture!

Glass House 6