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Collation, Conservation, Repair, and Provenancing

Introduction

This work is a massive undertaking and will take many months if not two or three years 

 (conservation is in any case an ongoing process).

The problems being faced are as follows:

  

 1.      Locating the art works scattered around the house, in storage in the garage or loft or in Bristol, or in private collections.

 

 

 2.    Assessing the damage which has been caused by bad storage over the course of 18 years when the last works were created.

 

  3.    Building an effective reference structure pertaining to the chronology, stylistic development, origin, and impetus for the said art works, as well as the projects and the working methods and artistic lifestyle conditions extant at the time.

                

 

 4.      This also relates to the exhibitions and what had been exhibited where and when, and any themes that can be ascertained regarding the arts and their exhibition.

  

 5.      Undertaking repairs to damage and attempting to restore such works.

 

 6.      Effecting minor conservation to almost all the art works which have suffered some wear and tear/environmental degeneration.

 

 7.      Undertaking effective system of provenancing and description.

 

 8.      Photographing all works.


Exhibitions

The last exhibition was in 1992 in Oxford.. Shortly after that time creation of new works ceased.


Once the above work items 1-8 has been completed then it may be possible to consider the likely viability of holding exhibitions of the art works. (such things as venue/finance/theme/sponsorship/ promotion etc have to be considered, as no works would be for sale. See document on this subject)


New Works.

Whilst creation of new works of art )(even sketches etc) ceased in 1992, he has never entirely ruled out the possibility of returning to creative production again in the future.,

In this regard the dedicated room used as a conservation and storage  area can also be used as a studio for creation of small works.


Photography

He has been experimenting with photography in the last two years when time permits. Mainly landscape and also historical architectural compositions.


 

I never set off with the intention of taking photographs. I do have in the back of my mind the hope that soemthing will grab my attention or inspire me or fascinate me, and of course subconsciously one's eye is taking in the surrounding scene.
 
I set off for a walk, for some exercise, or for a period of reflection, relaxation or meditation in Nature. Then when my mind is clear and I am relaxed by a natural process I begin to feel part of or absorbed and at one with the landscape. It is then that my intuitive creative skills and observations and reactions come into play.
 
Then when I do come back from a walk, or hike, or day-trip with a number of images stored,  I feel at peace. That I have something for my memories of course, we all like that. But also that I had gleaned a deeper insight into and relationship with the landscape I had just visited. A sense of enrichment and privilege ensues.

 


The move to Wiltshire has begun to inspire him.