Wednesday, February 15, 2006

this is cheeky

harry the hamster.... animated!

original :

Thursday, February 09, 2006

life is shit.

ok. sorry.

i've not been about for quite some time, and i apologize.

I'm not going to waffle about depresssion, thats been enough to destroy me, but death, money and nasty health probelms have sent me spiralling downwards. everything is too much, so everything has stopped.

I'm just picking up now, and trying to find things to keep me on balance and enthusiastic, but if any of you have suffered with spinal problems and depression on an art students budget, ou may sympathize a tad.

Not done any art, and not thought about it recently, but i won't make false promises to when i'll return, but it won't be long. please bear with me guys.

big love.


Friday, November 11, 2005

oh and...

here's a billygoose. bit snappy, and he'll eat more than bread.

still not very well, but still soldiering on.

no panic, things will catch up with themselves in a llittle while, and i'm doing a new Mal cartoon so that'll be ready in a week or two. Oh and to the schoolkids who used the comments facility for a teenage chatroom.... cheers. or should I say chrz d00dz? twats.

Saturday, October 15, 2005

evil baby 2005

not been well in the gut area for a couple of days... here's an evil baby

Saturday, October 08, 2005

Sculpture in Canterbury Exhibition...

While I get round to cropping all the photographs, here's a flyer with the dates and stuff of the Sculpture at Canterbury Exhibition, (which is, incidently, very, very good indeed):

and a sneaky peek at my work...

Thanks for the e-mails

Just a quick note, just to say really, thanks millions to the people who have made their comments about stuff on this blog, you're all so sweet! I know thats not a very blokey thing to say, but fuggit. If you'd like a reply, stick your email addy on the comments, and i'll mail back (in most cases!)

Well, as you've been so nice, have a 'def' background screen, he's a cute reaping character, just click on the pic below, then right click, set as desktop background, or whatever :)

Friday, October 07, 2005

Back backety back ONLINE! WOOHOO!

At last. after SEVERAL problems with my internet, I'm back online.

Been up to tons over the summer, and I'll top you all up with info over the next few weeks, thanks for bearing with me :)

here's some doodles to keep you going, and there will be something exciting soon about the 'Sculpture at Canterbury' exhibition, once I've compressed the pics a bit.

Sunday, May 29, 2005

did a boot fair today, to try and muster a little bit of cash...

in the end, we made 78p profit. not bad for nearly 8 hours work.

I did get to draw a skull towards my tattoo unit though..

Wednesday, May 25, 2005


looking at tattoos in art for my self initiated unit....

old school girl;

more to come :)

Monday, May 23, 2005

evil suit

here's a lickle version of something I've done as part of a small exhibition, which should be happening in August, watch this space.....

as a little break from evil babies.... evil annoying thing!

this NEEDED doing. i hate that thing....

Clicke here for the full size mega-basstadd

800x600 desktop:
or here for the 800x600 desktop background

Monday, May 16, 2005

the return of my evil babies

I've decided to do some more evil babies to cheer myself up. Here's one to be getting on with..

Thursday, May 12, 2005

Recent Stuff

Dudes! Managed to get the last unit in on time. Well just, it has become an irreversible habit that I must only get each unit finished 3 minutes before the deadline. I don't plan it that way, it just seems to happen. Anyway....

This is the calm before the storm, the painting unit still needs work done, the video unit is making my head hurt, and the launch of the next unit is on Monday and it's self-initiated, like I really have a clue what to do! maaaargh!

I was pointed in the direction of Sir Eduardo Paolozzi last week (Thanks Mr. Chell!) and I have found another artist that I adore. Although I'd never heard of him, a bulk of his work is very similar to work I've thrown up over the past 3 years or so, so the last unit went from studying the human form, to an obsessive study, I just hope I passed, but more importantly, I have a spark inside me to keep going after recent shite times. I'm waffling, so here are some recent piccies.....

^From a Imogen Cunningham photograph ^

matisse camouflage nude

^work in progress^ (Detail of 'Venus and Mars' - Sandro Boticelli)

^wire sculpture incomplete^

^almost finished wire sculpture^

^the finished unit^

click on pic for desktop background
^ 'Eduardo Peanut' - collage and wire on wooden tabletop ^

ooh, and I got the infamous artist, Nicholas Wall, to give me his Autograph ;)

Monday, May 02, 2005

Peter Fillingham - The Last Eleven Years

On sunday (1st) we went to see Peter Fillingham's work in King Wood, as part of his ongoing collaboration with Stour Valley Arts. We enjoyed it immensely, the weather was spot on, the performance was both emotionally and spiritually fulfilling, and to top it all off, the refreshments were fantastic, fancy cakes, wine and tea in cups with saucers, in amongst the trees and the bluebells! class.

Anyway, here are some pics....

Mr. Pete Fillingham himself :

and the work...

A good afternoon had by all. (Especially this old wino called Jessica...)

and the work was accompanied by a fantastic essay, written by Ian Hunt....

THE LAST ELEVEN YEARS, PETER FILLINGHAM 2005 - It is the hardest thing to make a work that avoids our ability to categorise. But The Last Eleven years, at King's Wood, manages to do this. What is at stake when we hold that a category has been prised open, even temporarily? For me it is the feeling that my brain is actively trying to understand something, or hold it in my imagination, but that I can't. The boy whom the psychologist asked 'what's bigger, milk or water?', smiled all over his face. But this work is not, at first, so obviously a fact out of place or a nonsense. Its type is a fence or rail, except it keeps nothing out and nothing in, connects to no lines of ownership or claim. As a fence it resembles one you might find at a racecourse, or on a ranch (or a suburban attempt at that status - its maker likes to mention Dallas, as a talisman against the idea that he might have made some Land Art). It is without usefulness, but it doesn't advertise its status as an artwork, or offer a clear view of what that might be in a forest. Neither does it impinge or annoy those who are not bothered by such problems. It would rather look like a leftover from a woodworking course than claim importance, and such decorum is important in a public place. But in its quiet way it makes absolutely no apologies for existing either. It partakes of idea, in that it has to be held in the mind: as you follow its course, you lose sight of the beginning and cannot see the end. It cannot be a path or a way, because it is difficult to follow in places, curving right between tree trunks that almost touch it. (From the photographs, I had wondered if it might go through trees and appear on the other side of them; it doesn't.) If it had a function we understood, there would be no doubt in our minds that trees would have been cut down to make way for it, but this line has been plotted through, and therefore inheres lightly in the place it is made for. It is still fresh softwood, not yet weathered, but it seems in some ways to be older than the trees, which grow around it. Though this does not make it part of science fiction histrionics exactly either, not Robert Smithson, or thoughts on lost civilisations; the material is too familiar for that. You go on applying categories and resemblances; but you only succeed a bit better in saying what this work is not, not what it is, and it remains therefore untethered, a new fact in the world.

The title - and you have to consider the weak bond of a title with a work, when it is in a wood - suggests that time has passed already. It has: the idea of a work was discussed with its commissioner that long ago. But equally the title needs to be thought of as a cast forwards. What will be here when that time has passed again, who will be here? The work is solid enough for now, but the lightly curving line it makes is already arrived at through the use of a material that twists out of true, like stretchers made by hand; as a combination of compromises and tolerances. You feel the varnished top rail, slap it to assess its soundness. No strong claim on permanence is made, but a claim is being made about passing, something like 'In time I am going to die, can you be there' (Denise Riley). But this stoic claim about dying or knowing how to die is awkward. Sawn softwood does not die into a forest without a protest. It will never quite fit in here, even at the end. This is some distance from the approach that in 'respecting' something it calls nature, stops its mouth. Nature speaks, rather, in awkwardness, pillow talk, in not quite knowing the right way to do or to say something.

So to the end. The terminations are discoverable without too much fuss, no serious commitment to a protestant walk ethic is required. There is all the same an idea of endlessness here. There is a moment, in the middle of your journey, that I want you to think about. You have lost sight of the beginning and cannot see the end. You know the path on the land rising above you is keeping pace, stays parallel. Below you, further away, you can see another more open track or forest road. You are not lost, but you have lost the horizon, your old locator, and you do not know for how long by following this rail you will have lost it. Edward Lear found this problem in noses: ‘There is a young lady whose nose/ Continually prospers and grows;/ When it grew out of sight she exclaimed in a fright/ ‘Oh! Farewell to the end of my nose!’ It may not be a frightening problem, as the nose was for the young lady; but it is a problem, and a strange kind of excitement also. Someone once expressed it to me with some urgency, describing her first significant journey from the city she had grown up in: ‘the horizon of expectation is a real metaphor!’ she pronounced, as though I was not taking the problem seriously enough.



Sunday, May 01, 2005

Rochester Sweeps Festival 2005


Well it's the sweeps festival here in Rochester at the mo, and the blackened faces of chimney sweeps and tinkly bells of the Morris dancers have travelled in their droves to dance, sing, entertain and most of all (so it seems) drink very heavily.

It's both odd and fun, but there is entertainment for everyone, whether its the funfair, the endless supply of food, the beer festivals, the live bands, the Morris dancers in their various guises or the chimney sweeps (amongst other stuff).

These chaps were funny, a Cairo-esque dance routine, with daftness, lunacy and fez-swapping aplenty. I like loons, and these folks were top class.

Apart from some dodgy bloke who had obviously spent a pound in a junkshop and was offering his wares for 'five paarnd' (a solitary framed picture), probably scrounging enough for the fare home, the buskers are out in force and are all good and definitely worth a bit of small change.


People flock from all over the world for this festival, and of course the Dickens' Festivals, which occur in late spring, and early winter and are equally as popular.

It's great to see humans with enthusiasm, especially such a happy enthusiasm. It would pay the powers-that-be to take heed at this point...

If you want a country that thrives and has good morale, remember the Jubilee of 1977, the Wedding of Charles and Diana and think of street parties. Social gatherings that thrust neighbours together for the purpose of having FUN. Comparitively, think of the success of the Venice Biennale, the Nottinghill Carnival, and of course the sweeps festival. Why not create more? Why not help the organisers of these events with publicity and funding?

I'll probably be taking some more pics of the festival tomoro, as its bank holiday, but today, I shall be jumping in the motor with Summer and icklepickle and going to the Stour Valley Arts, but more on that later.....

Wednesday, April 27, 2005

Old stuff - a doodle of some apples in a basket.

okay, it's hardly special is it? but this basket of apples inspired me to think of art on a completely different level to what I had ever considered before, in a more philisophical way.

If you get a chance, look up the meaning to 'Guy Debord' (handy google link) and read his writings on Derive. This may or not be relevant, but it is to me. I now consider every waking moment as an influence to what I create, but there are concentrated times, when surroundings encompass everything.

It's hard to explain in a nutshell, and perhaps I'll try to eleborate on this feeling soon, but from a trip to an orchard at the very end of the season of 2004, and a sketch of a basket of apples, via a rather interesting lecturer, to an appreciation of vision I find hard to explain.

Spend a little more time absorbing, rather than looking, spend a bit more time seeing.

click here or on the pic for the bigger pic

Tuesday, April 26, 2005

Lunacy is reborn. time to make time.

Ok. So I feel internally bad about not being on the web for quite some time, so I've created this blog to TRY to maintain some digital sanity, to give me an excuse to make some more digital stuff, and to keep up to date with news, gossip, beer and art.

I'm an artist, so it's all about showing off. I'm a variety bucket, ecclectic, so although I am showing off my stuff and humour on here, I'm a shy retiring person.

So I'm Dean Perry, aka pickledpizza, DarkRed or Pickle, my wife is Summer Perry, and I'll refer to my daughter as littlun, or icklepickle.