a mimplished cushion* 2

'nordic sunrise'

from the editor : Sunday, 11 March 2012

stories filtering in tell of a simultaneity of inspiration being imbued by a certain

'nordic sunrise'
- the May 2003 martin law painting
in the private collection of Rik Appleby

as of a few days ago
upon specific enquiry
the original, framed canvass of this painting
was entrusted by martin to new walls
and thus
'nordic sunrise'
travelled a few miles out of Bantry,
to commend Rik Appleby’s sounding space

The painting is about 4ish feet in size. "The frame cost 60 quid."

a mimplished cushion* 2

On 15 March 2012 19:45, Martin Law wrote:

.i.e. "mission accomplished*
(text colour, not black, dark khaki actually.)
chez moi, tea drunk,fire ablaze,
(footnote: tuar catha shld be spelt "tuar ceatha" my mistake.*1)
now.
"nordic sunrise".
see if i can squeeze some ascetic esoteric juice out of this alpha-bet by staying literal +trans-grammatical.
~~~~~~~~~~~~>
"nordic sunrise",originally titled "breakthrough",has a history spanning years since inception in late 90's. started with random feather prints,working on the floor at a house in coomhola w.cork.
feather prints: coat the concave side of feather with acrylic paint.
press feather to surface,run finger from bottom of stem to top. release,and it springs off, like a bow.
>( this painting was later on exhibit for months in a prominent gallery in cork city. i ultimately withdrew it. the gallery owner having stated, "it's acrylic,acrylics don't sell". (!???..!
well, feck ya then! (feck, as in "feach". irish for "look". just look.)
layer upon layer of leaf prints coalesce with random drips,splatters,strokes, accumulating hallucinogenic imagery in a 3d dimension; (it's the blue seeping through that puts it in space.))
something i learned in the 6o's from alan davie.

later, in "the naughties", the 2000's, the crusted surface long hardened, i took a saw to it, took 6" off the top,related to what i saw. took coarse green sandpaper to it. grinding smooth thru multiple layers. inviting new dimensions emerging.
this, at another previous address, one of the darkest claustrophobic places i've lived. no daylight. no window-view but grey concrete. painting with a bare lightbulb. most artists use a brush!
the process: you take away, then you put back in. organically. following what's there. meticulously. ridiculously meticulously. with a fine brush. the "blue seeping through", all put in afterwards. organically editing out as you go. leaving in map-like relief what wants to remain. the process has a life of it's own and dictates where the blue will infiltrate. very geo-logical
important; you don't fake, contrive, or add anything. just blue. a bit like sculpture only flat. and that's that.
numerous nine hour nocturnal sessions immersed in the process , the "board" flat on the floor. most of what an artist is doing,(if you were to look through the keyhole), is just looking. gazing intently, openly,peripherally,for hours, without thought. feeling through the eyes. scanning every nuance and microcosm.
until, ultimately, there comes a point, a moment, when an intuitive inner "voice", says, "that's it. don't touch it. you'll only fake it". and it switches off. by itself. and you gaze a while longer, curious, wash your hands of it and tidy up.
much later, linda cohu, an artist/sculptor, said,"it needs something in the middle, a central focus".
that is how the pale winterish nordic sun finally broke through the maze of shards and frozen deritus [well, the rainbowmaker really has a relatingness-ness with this word 'detritus' as shall be seen! pan - ed*2]. thawing the deadlock of many winters. that's the literal truth, in a nutshell.
"nordic sunrise". 13 letters as always. for good reason: tis lucky.~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
martin rainbowmaker. 15.3.2012.

nordic sunrise
martin law, may 2003