Tossers

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Facebook won’t allow me to sell this piece of art. Apparently it doesn’t meet their approval, as they tend not to “allow the sale of adult items or services (e.g. sexual enhancement items or adult videos).”

Here is the glorious message in full…

“Rejected: There are issues with your product

If you’ve read our commerce policies and think that your item should be approved, fill in this form.

It looks like we didn’t approve your item because we don’t allow the sale of adult items or services (e.g. sexual enhancement items or adult videos).”

It’s the second best rejection letter I’ve had.

Also, joke’s on you, Facefuck, I sold this painting last month.

-MLP

Artfully Dressed: Women in the Art World

Screen Shot 2018-04-17 at 14.35.20I recently sat for a portrait by photographer, Carla van der Puttelaar, to appear alongside other birds of the art world. All the information you need, below, if you want to see it amongst the splendour of the Weiss Gallery. You’ll also be able to read an interview I gave. If you can’t bear to leave the comfort of your own abode, I have shared the photo on my instagram account.

The main thing to mention here, is that I am wearing various mismatched garms from Roxana Halls’ eclectic and eccentric collection. She’s one of my favourite painters, by the way. >> http://roxanahalls.com

Artfully Dressed: Women in the Art World

“From 16 to 31 May 2018, The Weiss Gallery will hold one of its most unique exhibitions to date: Artfully Dressed: Women in the Art World. These portraits by Dutch photographer and art historian, Carla van de Puttelaar, portray some of the most influential women in the art world today, as well as those at the beginning of their careers.

Gallery owner Mark Weiss sees Carla’s unique reinterpretation of historic portraiture and costume as an important iconographic re-working of his most beloved art-form: portraiture. ‘I have always been interested in photography, and this project, combining as it does my passion for the human face and form, showcases Carla’s genius in dramatically capturing the personality of her sitters in a uniquely evocative way’.

Van de Puttelaar has exhibited in numerous museums and galleries around the world. She has always had a keen interest in portraiture, and is fascinated by the effect of light. Carla photographs her sitters in natural light, with dark, Caravaggesque backgrounds, and there is a resultant intensity to her portraits. She describes her work as recording a specific, momentary expression, be it emotional or powerful, but always individual.

Among the sitters are Maria Balshaw CBE, Director of the Tate Art Museums and Galleries; fashion historian Amber Butchart; Emilie Gordenker, Director of the Mauritshuis; Lidewij de Koekkoek, Director of the Rembrandt House Museum; Catharine MacLeod, Curator of 17th Century Portraits at the National Portrait Gallery; Hanna Klarenbeek, Curator at the Paleis Het Loo; Aileen Ribeiro, fashion historian and costume expert; Jennifer Scott, Director of the Dulwich Picture Gallery; Diana Scarisbrick, pre-eminent jewellery historian; Fariba Farshad, Director of Photo London; Zoe Whitley, Curator of Contemporary Art at Tate Modern, and Curator of the British Pavilion, Venice Biennale for 2019; and Roxana Halls, artist, among others. They are dressed in haute couture, by famous designers including Iris van Herpen, Jan Taminiau and Claes Iversen, or vintage and period costume, and wrapped in sumptuous historic fabrics by Watts of Westminster.”

PAINTINGS, MUSIC & THINGS: Moore ⁂ Plum at Vout-O-Reenee’s

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MOORE ⁂ PLUM AT VOUT-O-REENEE’S

MARIE-LOUISE PLUM (painter of uncanny folk-tinged Magic Realism) & JOHN MOORE (erotic portraits in a classic style) invite you to view their PAINTINGS, and receive a dose of sweet rock MUSIC.

WHERE

Vout-O-Reenee’s
The Crypt
30 Prescot Street
London
E1 8BB

WHEN

Opening Night, Friday 6th April: From 6pm Meet the artists, discuss the work. Live music and good cheer for the surrealistically distinguished.
Exhibition continues: April 6th – 21st
Opening times: Mon-Sat, 5 -10:30pm

Marie-Louise Plum and John Moore immerse you in painted dream worlds, fantasy realms and erotic portraiture.

John Moore and his band perform songs from the “✩✩✩✩ literary pop gem” (The Times) album, Knickerbocker Glory, on 14th April. Advance tickets £10 plus booking fee, doors 7pm, showtime 9pm. Tickets also available on the door.

Exhibition runs from Friday 6th until Saturday 21st April.

Vout-O-Reenee’s is a club for the surrealistically distinguished. Non-members are welcome to view the exhibition, attend the opening night and gig. Tickets for the the gig are £10 plus booking fee, available here.

MARIE-LOUISE PLUM

Marie-Louise Plum is a multidisciplinary self-taught artist who draws, paints, prints, collages and collects.
Her particular interests are preservation, memory, mortality, sense of self, and identity, following themes of social
alienation, sexual ambiguity and subversion of the ‘common sense’.

A large part of Plum’s art practice is searching, scavenging and regenerating that which is lost or forgotten, be it objects or ideas. Her obsession with keepsakes extends to all manner of ephemera, which have featured heavily in her earlier collections of work.

A recent exhibition at Bob & Roberta Smith’s CCCA in Coventry – a live painting and audio experience, ‘Suburban English Magick’ – was the catalyst for her new series of paintings that capture the voyeuristic sense of peering into worlds and peoples unknown.

Consciousness, linear time, and existence are subjects that Plum repeatedly turns to, searching for evidence to explain why we exist, and where we are going. Symbolism and references to self-protective ritual are often depicted in her paintings.

Marie-Louise Plum will be exhibiting new paintings, as well as selected art objects from earlier collections.

www.marielouiseplum.com

Contact: mail@marielouiseplum.com

JOHN MOORE

​​An artist in the truest sense – driven by his passions – John Moore is a musician, painter, writer and former importer of Absinthe.

His oil paintings depict subjects who demand attention, imploring the viewer to engage with their questioning gaze. A lover of timeless, classic erotic portraiture, following in the tradition of Modigliani, De Goya and Cezanne, Moore aims to capture atmospheric nudes in states of ethereal being.

Combining composition styles of old with new approaches, he presents his muses in such a way to carry us off into the magical unknowing.

John Moore has just released the highly acclaimed album Knickerbocker Glory, garnering rave reviews around the world, described by The Times as ‘A literary pop gem’. In addition to exhibiting paintings, he will be performing songs from the album, with his band, Saturday April 14th, as well as playing acoustic dates, the first of which will be on the exhibition opening night, Friday April 6th.

Described by Mojo Magazine as “A bruised eremitic, Withnalian Rattlesnake on downers. Makes Lou Reed sound like a bricklayer.”

Live Music, Saturday 14th April: John Moore and band, playing songs from his new album Knickerbocker Glory. Doors 7pm. Showtime 9pm. Club closes at 2am. Tickets £10.

www.johnmooremusic.com

Suburban Beginnings

One weekend down and Suburban English Magick is taking shape. I can’t stand artspeak, but when I say my painting is entirely ‘responding to the space’, it’s true. I’m painting inside a shed, or, to be precise, Bob and Roberta Smith’s old back garden shed, which became the ‘Centre of Contemporary Art’. It started life in Leytonstone, went on tour, spent some time at the Serpentine, now resided in Fargo Village, Coventry, with The Pod as its new custodians.

The photos, above, show how I started, the marks made. It was an unsure, constrained start. The more I painted, and subsequently painted over, the more loosened up and in tune with the space I felt. It’s sort of painting itself. See the videos below to have an idea of where I’m at, now.

There’s a piece of sound art that I made, which accompanies the live painting. As it’s only 5 minutes and 13 seconds in length, and I play it for hours on a loop, I’ve had to take respite with the assistance of Gravenhurst and John Renbourne.

If you watch the film and you can’t hear me telling stories over sheep noises and other insanity, then you are listening to either Gravenhurst or Renbourne. I would encourage you to buy all their albums.

I’ll be back at the CCCA tomorrow (Thursday, 11am-6pm), Saturday (10am-12pm, 4-7pm) and Sunday (11am-4pm), painting live.

Big thanks to Curating Coventry and Alan Van Wijgerden for film and photography, also to The Pod for their continuing support.

VIDEOS

Suburban English Magick

MENTAL SPAGHETTI & COLLECTIVE//POD PRESENT

MARIE-LOUISE PLUM: ‘SUBURBAN ENGLISH MAGICK’

02.09 – 16.09 2017


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Behind every brutal scene/there is beauty/in Suburban English Magick: Peer in to the world of semi-rural village life in the Shires. Modern day folklore, witchcraft and the uncanny, dressed in sportswear, driven in souped-up race cars, depicted in paint and recited in tongue.”

From 2-16 September, a picture of Suburban English Magick will be built up, in paint and tongue, in Bob and Roberta Smith’s CCCA Shed, Coventry.

Custodians of the CCCA, Collective//Pod, have programmed this live painting exhibition as the run-up to the Scratch the Surface Festival, 2017, co-curated and programmed with various partners, including Mental Spaghetti.

Marie-Louise Plum is painting the entire interior of the shed, improvising contemporary folkloric vignettes inspired by a spoken word and cut-up sound composition.

Please note that live painting and audio installation will only take place between 10am-6pm, Fridays and Saturdays, and, 10am – 4pm, Sundays, from 2-16 September.

The installation is visible at all times during Fargo Village opening hours.

VENUE CCCA Shed, FARGO Village, Far Gosford Street, Coventry, CV1 5ED

DATES Exhibition runs 2-16 September, 2017

OPENING HOURS Monday – Saturday 10:00 – 18:00, Sunday 11:00- 16:00

GETTING THERE 20 minutes walk from Coventry train station MAP

FREE ENTRY

WWW.MARIELOUISEPLUM.COM

Suburban English Magick A3 Poster for print

One Bare Foot Square

 

‘ONE BARE FOOT SQUARE’
Exhibition Dates: 30 July – 13 August 2016
Opening Event: Saturday 30 July 2016, 3 – 5pm.
Curator: Chutima Kerdpitak (NOK)
Outsider Art Gallery in The Hermitage museum Amsterdam
Address: Outsider Art Ateliers in de Hermitage,
Neerlandia Plein 1, 1018 DR, Amsterdam, The Netherlands
The Hermitage: http://www.hermitage.nl
Outsider Art Gallery Amsterdam: http://www.amsterdam-outsider-art.nl

That thing, above, is three panels of illustrated calico. I’ve done this piece of work for a travelling exhibition, One Bare Foot Square, the creation of Nok, and Uncooked Culture.

First stop for the panels is Amsterdam Outsider Art Gallery, at the Hermitage Museum, The Netherlands. All three pieces are for sale. After the stop-off in Amsterdam, comes London. That will be in November. I’ll update you nearer the time.


‘Re-entry’
© 2016, Marie-Louise Plum


‘Journey’
© 2016, Marie-Louise Plum


‘The Approach’
© 2016, Marie-Louise Plum

Meditation on a Disastrous Painting Experience

“Did Cecilia Giménez burst in and finish that while you were out of the room?”

It’s actually quite useful to be living with the ghost of Brian Sewell, even if I don’t act like it all the time, and I only really lap up the criticism when it’s not really criticism at all.

But my dear partner was right, of course. I had somehow taken a mysterious, sylph-like creature into a bog-dwelling Jenny Greenteeth, in but three or four brush strokes.

“It’s okay, I’ll pull it back. You can be crap if you’re good.”

Saying something like this is just like turning to a crowd of your mates and saying “Hey, watch this!” before you prepare to jump the Grand Canyon on a pair of Argos roller skates. It got worse, yes it did.

Cecilia Giménez, if you remember, is the Helpful Lady of Borja, Spain, who decided to give Elías García Martínez a helping hand with his fresco, ‘Ecce Homo’. Now it seemed she had come to live with us, in North London, England.

This is a tale I can only really tell with the aid of photographic evidence, so I will share the horrors, whilst guiding you through my torturous three day, but felt like years, relationship with a disobedient painting.

Day 1, AM: Fondly recalled as the ‘good times’. A lot of flirting, ridiculous infatuation, in some part god-like complex that felt I could in fact walk on water, surely, as I was already walking on air with this gorgeous being. I loved the way she looked at me. She was keen on how I built her up. Everything was working out.

Day 1, PM (left image): Things took a sour turn very quickly. As much as we loved being in each others company, we’d rushed into things far too fast, had no idea of each others’ horrid peccadilloes which would ultimately lead to a long stretch at Her Majesties pleasure.

We could barely look at each other for more than ten minutes before wanting to punch our fists through each others faces. Me for her brain-draining inability to do anything she was asked, she for my ruining her entire being.

Day 1, PM (right image): CECILIA HAD ARRIVED.

FOR COMPARISON…

Day 2, AM (left image): Having slept on it, I was brimming with misplaced self-confidence which seemed to allow me to take The Girl from the clutches of Giminez to something that resembled almost humanoid form. I probably should have stopped here. But no, no. I carried on, slicing and stitching and shoving the implements in, until my simple procedure of a neat stomach staple was actually a gut full of wrenches and spanners.

Day 2, PM (right image):
We weren’t speaking at all. Fuck her. That’s how I left her to sleep that night. With that face on. Perhaps I could foist this off as an outsider folk effort?

Day 3, AM: Collateral damage mode. Thoughts: She can keep the car, I’ll take the house. Maybe this will be okay. Maybe it can go in the outsider folk art box. Things had reached stalemate, both of us still refusing to have anything to do with each other. I spent some time wondering how long it would take to dig a canvas sized hole in the garden, deep enough for the horror beast never to emerge in heavy ground-rearranging rain. We decided that whilst we weren’t entirely happy with each other, we could make do and mend, and this is how our relationship would end. We’ll chalk it up to experience.

Day 3, PM: Having stared at her teeth-like-a-bag-of-chips mouth for a few hours, wishing I’d never ever seen her face, I felt an empathetic awakening. I couldn’t leave the poor girl like this. I would have to be a real woman, step up to the mark, and put things right as best I could.

Anyway, here she is now. And this is how she is going to stay. I was a little unsure, but having received such heartwarming feedback as “Those eyes! Stuff of nightmares”, I know my work with this girl is done. And let that be a lesson to me.

Stow Brothers Vinyl Display

As part of the #ArtOnHoeStreet public gallery initiative by Build, I’ve got some work up at Stow Brothers, 236 Hoe Street, Walthamstow. I think the work is up until the end of May, and I hope to work with both Build and Stow Brothers again in the future, as the public gallery is a long-term project.

Here is an image of the work featured. Shop image credit goes to Build/Stow Brothers.