Archive for April, 2019

Monday 29th April 2019

Posted in Life the Universe and Other Things on April 29, 2019 by bishshat

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Comfortably Numb

Pink Floyd

Hello,
Is there anybody in there?
Just nod if you can hear me.
Is there anyone at home?

Come on now
I hear you’re feeling down
Well, I can ease your pain
And get you on your feet again

Relax
I’ll need some information first
Just the basic facts
Can you show me where it hurts?

There is no pain, you are receding
A distant ship smoke on the horizon
You are only coming through in waves
Your lips move but I can’t hear what you’re saying
When I was a child I had a fever
My hands felt just like two balloons
Now I’ve got that feeling once again
I can’t explain, you would not understand
This is not how I am
I have become comfortably numb

I have become comfortably numb

O.K.
Just a little pin prick
There’ll be no more aaaaaaaah!
But you may feel a little sick

Can you stand up?
I do believe it’s working, good
That’ll keep you going through the show
Come on, it’s time to go.

There is no pain you are receding
A distant ship smoke on the horizon
You are only coming through in waves
Your lips move but I can’t hear what you’re saying
When I was a child
I caught a fleeting glimpse
Out of the corner of my eye
I turned to look but it was gone
I cannot put my finger on it now
The child is grown
The dream is gone
I have become comfortably numb

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Gemini

Alan Parsons Project

Watching waiting rising falling
Listening calling drifting
Touching feeling seeing believing
Hoping sending leaving

I couldn’t say why you and I are Gemini
If I tried to write a million words a day
I see your shadow coming closer
Then watch you drifting away

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I was close to finishing this painting of St Seraphim’s then i started messing with the clouds. Agh!

The History of St. Seraphim’s Chapel

St. Seraphim’s story really begins in 1966 when Fr. Mark (later to become Fr. David) and Leon Liddament came to Walsingham as part of the newly formed Brotherhood of St. Seraphim. Their role at the time was to look after the little Orthodox Chapel that had been built in the Anglican Shrine; however, they soon felt that the local Orthodox needed a larger church.

Looking around, the only buildings that were available at the time were the old prison and the old railway station. Finding the station a better option, they set about converting the building to its current form, which, as the building was being rented from the council, left it practically the same as the railway days with the addition of an onion dome and cross.

While in the beginning they had planned to live and work in the rooms adjoining the chapel, events led to the establishment of a monastery in Dunton and a parish church in Great Walsingham, the Church of the Holy Transfiguration. However, St. Seraphim’s has remained a pilgrim chapel open to all who visit Walsingham since its establishment.

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Throughout its history, St. Seraphim’s has been a centre for the creation of Orthodox Icons with both Leon and Fr. David earning their livings as full time iconographers. While both have sadly passed away, Fr. David in 1993 and Leon in 2010, the Trust aims to build on their legacy and make St. Seraphim’s a space for the study and practice of iconography once again, reflecting the life and work of St Seraphim of Sarov through publications, literature and icons.

St Seraphim’s Trust wishes to build on the long tradition of hand-painted icons in the traditional manner using egg-tempera, established by Father David and Leon Liddament and developed over 43 years. Their commitment to painting icons of local and British saints is of particular significance, and their icons can be found all over the world.

The display in the chapel’s entrance is to enable visitors to understand the meaning of icons, their use in worship and the home, and the technique by which they are made.

Many people will also know that St Seraphim’s chapel is housed in the former Walsingham railway station. As an important part of Walsingham’s history we plan to restore the station platform to its former glory and to display the railway collection.

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Sunday 28th April 2019

Posted in Life the Universe and Other Things on April 28, 2019 by bishshat

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Sunday 28th April 2019

Posted in Life the Universe and Other Things on April 28, 2019 by bishshat

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Saturday 27th April 2019

Posted in Life the Universe and Other Things on April 27, 2019 by bishshat

Spurs 0 West Ham 1 

Spurs treated this derby like a dress rehearsal, and they paid the price. With not just one but two eyes on Tuesday’s Champions League semi-final with Ajax they walked through this game, and straight into disaster.

West Ham United were good value for this 1-0 win, holding Spurs off in the first half and then picking them off on the break in the second. Michail Antonio scored the game’s only goal but it was far from their only chance in a second half in which Spurs looked tired and distracted.

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It was only in the final minutes, with Vincent Janssen on as a substitute, that Spurs started to threaten an equaliser and by then it was too late. Now Spurs have missed an opportunity to tie up a top four finish. And whatever happens against Ajax, their last two league games suddenly have much more riding on them than they would have wanted.

The problem is that Spurs’ distraction was obvious from the start. For them, this was the practice run for the biggest night of their lives. Of course finishing fourth is important, and Spurs have their own rivalry with West Ham United to defend. But on Tuesday night they host a Champions League semi-final here, a game so blindingly important that it is almost impossible to see anything else.

This game, usually so intense, had to live in that low-wattage gloom. Jan Vertonghen was rested, Kieran Trippier left on the bench, as Spurs made sure that they could throw everything they had at Ajax on Tuesday. With injuries to key players too, it was an unusual-looking Spurs team: a midfield diamond with Danny Rose one of the shuttlers. Not something that Pochettino does when everyone is fit.

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But with Christian Eriksen and Dele Alli in the team there is always a threat. Especially up against a West Ham side who did not just want to defend deep and wait. And Spurs should have scored twice early on, Son Heung-min running onto Dele’s pass, Dele running onto Eriksen’s, but neither man could convert.

After that fast start Spurs could not find the incision to go with their control of the ball., as if they were not quite willing to throw everything they had at West Ham. Lucas whistled one wide from 20 yards but West Ham’s occasional breaks looked just as likely to bring a goal. When Felipe Anderson’s long-range shot deflected off Toby Alderweireld it could have gone anywhere, but ended up in the arms of Hugo Lloris.

Clearly Spurs needed more in the second half, more intensity and more application. But they did not get it. Apart from one moment when Son went down in a collision with Arthur Masuaku, and the fans called for a penalty, there was not much of a threat. And when Antonio raced downfield on the break, only to have his shot blocked, it should have been a warning to the Spurs defence.

But they did not heed it, and it cost them. Because Antonio soon burst through and slammed West Ham into the lead. Declan Rice charged forward through midfield with the ball and played it out wide to Marko Arnautovic on the right. He clipped in a cross, spotting the near-post run of Antonio long before Davinson Sanchez did. Antonio is sometimes criticised for his technique but there was nothing wrong with it here: controlling the ball on his chest, letting it bounce, smacking it past Lloris.

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Spurs had stopped creating chances and they needed a new approach. Fernando Llorente and Vincent Janssen came on, returning from exile in Spurs’ hour of need, but even his late surge was not enough to turn the game. He forced two saves from Lukasz Fabianski and then, in added time, headed a Juan Foyth cross against the post. The great Janssen redemption story has yet to be completed.

West Ham continued to be dangerous right until the end, Antonio and then Issa Diop forcing more saves from Lloris to keep it at 1-0. Diop managed to run 60 yards with the ball, through Alderweireld and Sanchez, before his weak finish. But by that point Dele Alli had gone off for Victor Wanyama, which said everything about Spurs’ priorities over the next few days. This game was not the priority, and it showed.

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Rosie Lippett

“My desire to create has been with me since childhood. A day without creativity to me is a day wasted. I interpret my emotions and experiences through paintings.”

Having lived in the countryside all her life, country sayings, traditions and folklore are Rosie’s main source of inspiration and each painting tells a story.

Rosie studied at Stourbridge College of Art and at Cheltenham College of Art. She worked for some years at Royal Worcester Porcelain which, she says, gave her the love of detail and discipline to create fine art.

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Peter Heard

A self-taught artist and a chartered Civil Engineer and bridge designer by profession, his early works were highly detailed, sophisticated and intricate compositions usually depicting quintessential English villages or portraits of the eccentric English at their sports and pastimes, observed with humour and graphic wit.

Following a visit to America’s east coast where he saw the giant lighthouses of North Carolina’s Outer Banks, his work took a dramatic change of direction. Always fascinated by light and structure, he began a stunning collection of fabulously graphic lighthouse paintings “a magnificent obsession”. He sees these as a culmination of a 40 year career and refers to the first 25 years as ‘an apprenticeship’ allowing him to perfect his technique.

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Terry Rushworth

His passion for art started at an early age, he started drawing as a way to combat the boredom of months spent recovering from heart surgery. Shortly before the age of five he was found to have heart disease which required immediate surgery. He drew a great deal of inspiration from the Eagle comics that his parents brought into him. He missed the first two years of primary education at a local Roman Catholic school. He found school to be a harsh, brutal and confusing place. Even after moving to senior school he felt he did not fit in and took solace in the worlds he created in his art.

After school he was accepted onto an art and design course at Oldham Art School. It was whilst here that he met two like minded artists, Alan Meadowcroft and Paul Wilson and they and a friend of Pauls’, Danny Milne, formed the Embryo Group in 1970. They realized that as individual artists the chance of them producing enough work for a one man show was a remote possibility but as a group of artist they could fill a gallery with ease. The group exhibited in Oldham, Stockport, Altrincham, Warwick, Salford…

After three years he parted company with the Embryo Group and started to exhibit and sell his work through The Portland Gallery, Manchester. This was a very prolific and financially successful time for him. He was chosen to exhibit with a group of artists including David Hockney to represent the North of England in an exhibition at the Mall Gallery, London. Although the show proved to be a great success for him he received a less than positive review from the Guardian’s art critic Waldemar Januszczak. A little bruised by what he felt to be valid criticism he decided that he needed a more formal art education than he had received at Oldham.

He enrolled on a Fine Art Degree course at what is now known as Manchester Metropolitan University. This was a profoundly damaging time for him artistically. His work was constantly derided by his tutors as it did not conform to currently fashionable beliefs of what art should be. He was neither a modernist nor a conceptualist, he was told that he simply ‘painted by numbers’.
Although he gained a 2:1 the damage the three years had done made him doubt his art. Although he did still paint in fits and starts, he concentrated on living a ‘normal life’. Using his abilities as an illustrator in a series of jobs until in the late 90’s he started designing and developing special needs educational software for a section of Granada Television. In 2003 he was made redundant and became a self employed educational developer. However the feeling that he should really be painting again had been steadily growing over the years and so he decided to stop ‘normal work’ and return to his first love art. So it was in late 2015 after 34 years he began to paint again.

His work draws on his childhood, the effect of religion and education, a fascination with the myths and symbolism found in art and literature, the English countryside, music and traditions. Above all he believes that art should be mysterious, that it should provoke the viewer to ask questions of it, after all isn’t a mystery far more interesting than the explanation?

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Paul Stephenson

Paul Stephenson working on his recreation of Warhol’s Chairman Mao portrait
Is it possible to create new paintings by Andy Warhol, 30 years after his death? Warhol got other people to do most of the work first time around – and now a British artist has recreated some of his most famous works using exactly the same methods and materials.

There was a reason Andy Warhol called his legendary 1960s New York studio The Factory.

It housed something resembling an assembly line of assistants working on his famous screenprint paintings of icons like Elvis Presley, Marilyn Monroe and Jackie Kennedy.

On occasion, his assistant and his mother even signed the paintings on his behalf.

“I think somebody should be able to do all my paintings for me,” Warhol told interviewer Gene Swenson in 1963.

“I think it would be so great if more people took up silk screens so that no-one would know whether my picture was mine or somebody else’s.”
Warhol wanted to remove any trace of the artist’s hand in his art
More than 50 years on, Paul Stephenson has done that – and ignited a debate about what can be done after an artist’s death.

Stephenson has made new versions of Warhol works by posthumously tracking down the pop artist’s original acetates, paints and printer, and recreating the entire process as precisely as possible.

Stephenson’s project began when he bought 10 original Warhol acetates – the enlarged photographic negatives of those icons that Warhol used to create his screenprints.

While Warhol’s assistants did many parts of the physical work, the artist, who died in 1987, was the only one who worked directly on these acetates, touching up parts of the portraits to prepare them for printing.

Stephenson took the acetates to one of Warhol’s original screenprinters in New York, Alexander Heinrici, who offered to help use them to make new paintings.
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Those paintings – of Chairman Mao, Jackie Kennedy, an electric chair and a self-portrait of Warhol himself – are going on show at the Buy Art Fair in Manchester at the end of October. He’s titled the series After Warhol.

“I’m not saying they’re Warhols,” Stephenson says. “It’s a forced collaboration because the original author doesn’t know anything about it.”

He may not claim the new paintings should be considered posthumous Warhols, but Rainer Crone, one of the leading Warhol authorities and the first to catalogue the artist’s work, said they could be.

Crone died in 2016 but he saw Stephenson’s recreations and sent him an email saying “paintings made with these film positives under described circumstances and executed posthumously by professionals (scholars as well as printers) are authentic Andy Warhol paintings”.

Stephenson’s paintings are not identical to Warhol’s originals, but are near enough.

Stephenson has recreated portraits of Jackie Kennedy, Mao and Warhol himself
Stephenson says he’s simply asking a question: “If the world-leading Warhol scholar says it’s a Warhol, and you do everything in the mechanical process that the original artist did, and the original artist said ‘I want other people to make my paintings’, which he did – what is it?

“I don’t know the answer to that question.”

There are other examples of works being made in an artist’s name after their death.

The estates of Degas and Rodin have made bronze sculptures using their original designs. They are sold as posthumous works, with lower prices to match.

Extending Warhol’s career
The fact the price tags for Paul Stephenson’s recreations are missing a few zeroes – they will be on sale for £4,000 and £10,000 – is proof that he’s not expecting anyone to regard them as authentic Warhols.

Warhol expert Richard Polsky, who offers a service authenticating Warhol works, says Stephenson’s paintings shouldn’t be regarded as posthumous Warhols.

“I like the fact that he’s honest – he’s not claiming Andy made these, he’s claiming he made them,” Polsky says. “I also notice he’s priced them very modestly. All that’s good.

“It sounds like he’s trying to extend Warhol’s career, so to speak, even though he’s dead. There’s a charm to that, but it just seems so shallow.”

‘Problematic’
There’s a key difference between someone else making a Warhol painting in his Factory during his lifetime and someone else making one now, according to Jessica Beck, curator at the Warhol Museum in Pittsburgh.

“He was always involved in that final product in some way,” she says, explaining that the artist oversaw everything at the Factory and did get involved in other ways after the inception.

“This idea of taking his screens and recreating new Warhols without being in dialogue with him – obviously, because he’s now dead – that’s problematic.”

But Stephenson’s works may still appeal to people who want to impress their friends by appearing to have a Warhol on their wall, but without spending millions.

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The Connor brothers are fictional characters created by the artists known as The Connor Brothers.

Twins Franklyn and Brendan Connor were brought up within a secretive and highly controversial cult known as ‘The Family’. Born out of the hippy movement in 1968 and founded by David Berg ‘The Family’ was an extreme Christian cult whose members believed in something called ‘The System’. Other children brought up within the cult include the actors River and Joaquin Phoenix.

As children the twins were deprived of access to information from outside of their commune. Without access to mainstream media their knowledge of the world was limited to the teachings and interactions they gained from other cult members. At sixteen the boys turned their backs on The Family and ran away from home. After several years riding the freight trains they settled in the Brooklyn area of New York.

Having been starved of information for so many years Franklyn and Brendan were initially overwhelmed by the outside world but soon developed an insatiable curiosity and a remarkable appetite to learn. They developed a system whereby each of them would read, watch and discover things independently and then share them with one another via a series of notebooks and sketchpads. This interaction developed into making art together, a process they describe as ‘trying to make sense of the world.’ Their often humorous work is steeped in references to both historical and popular culture and presents an almost anthropological view of contemporary western society.

Now in their early twenties the twins split their time between New York and Missouri.

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On Reading Nietzsche

I feel its best to be a simple man
For education only leads to discontent
I try to study the way of it all but it flies over my head
It raises nagging negatives
I close my eyes to the lines I cannot fully grasp
Great holes appear in my soul
I wished that I had begun to know myself earlier
Or I had had the means to do so
Why was I condemned to a life that would only
Leave me asking more questions?
As I begin see the reasons
I realise I have learned it all too late
Education leads to the self
The self leads to loneliness
Loneliness leads to thinking
Thinking leads to questions
Questions lead to disillusion
And a wish, yes a dream for an alternative solution
A way out
An escape route
There is none
We are all condemned to nothing
This I have learned from self education
O how I wish I was but a simple man
For education only leads to complexity

John Bish June 29th 2016

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Friday 26th April 2019

Posted in Life the Universe and Other Things on April 26, 2019 by bishshat

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On the final day
Did the dinosaurs, awaken knowing what was in store?
Did they know that they were all headed for annihilation?
If so what will man do on the day we awaken to see that we have wasted it all
Will a great unease settle over the world?
Will a collective sigh in many languages of BOLLOCKS!
Ease from the mouths of us all?

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25th April 2019

Posted in Life the Universe and Other Things on April 25, 2019 by bishshat

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Bernard and Daisy’s home reduced to rubble in 11 hours non stop work from 07.30 and still working now at 18.12 Thursday 15th April 2019.

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24th April 2019

Posted in Life the Universe and Other Things on April 24, 2019 by bishshat

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