Author Archives: peter

About peter

'Death by Sushi' Fish can kill me. When I was very small (maybe 3 or 4 years old) my grandfather, who lost the sight of one eye from a bullet fired by a German sniper (fortunately not a very good one) during the Battle of the Somme in World War 1, wiped my face with the corner of his apron, an apron he had used to wipe his filleting knife on. He was a grocery shopkeeper who specialized in wet fish.

Royal Academy’s Summer Exhibition – Grayson Perry – #Art #RA

ra_summer_show_2013I went to the preview of the RA summer exhibition at the weekend – it was full of the usual high and low points. Possibly the glass of Pimms was the most exciting thing…

What the critics like: You’ll find great pieces if you keep your eyes peeled, says Rachel Campbell-Johnston in The Times. This is a vast messy reflection of what is going on in artists’ studios all over Britain. In an art world dominated by meticulously curated exhibitions that instruct you what to think, “we should learn simply to love it for that”.

Read more:

Really enjoyed the Grayson Perry textile wall hangings, not my thing really but garishly fun.

In 2012 Grayson Perry made documentary series ‘All in the Best Possible Taste with Grayson Perry’, about class “taste” variables, for Channel 4. Each episode showed him living among the “classes” in different towns, he explored both male and female culture in each “league” and focused on what they buy, creating a juxtaposition of ‘good taste’ and ‘bad taste’. The documentary was in three parts: “Working Class Taste,” and “Middle Class Taste,” and “Upper Class Taste.” The conclusion of the documentaries was one of ‘so what’  – bad taste could be good taste and good taste could be bad taste, it is all subjective and above criticism.

He photographed the people he came into contact with and illustrated his experiences. These sketches were then developed using Photoshop to create finished image files that were then processed to create final tapestries, which were woven on a computer controlled loom in Flanders. The contents he says, were partly inspired by William Hogarth’s series of small paintings “A Rake’s Progress” depicting 18th century society at the time (1732-33).

Of the tapestries, Perry says,

The Vanity of Small Differences consists of six tapestries that tell the story of Tim Rakewell. Some of the characters, incidents and objects I have included I encountered whilst filming All in the Best Possible Taste. The tapestries tell a story of class mobility. I think nothing has such a strong influence on our aesthetic taste as the social class we grow up in.

Why not get some art delivered in the post for only £1.00 ?

Peter Bright - Postcard


We will mail you a signed postcard of an image that was exhibited in an exhibition of Peter Bright’s at West Buckland School.

To receive your postcard click the button below – the £1.00 is to cover postage etc.

Quotes: “Take up a radical position with Peter Bright, who is borderline anarchic in his thinking and equally bold in his art.” Andrea Charters … Continue reading ?

Exhibition of Prints, Drawings and Paintings by
Peter Bright
150 Building, West Buckland School

Monday 6th June – Friday 1st July 2011

Old images and ideas revisited and recycled – re-executed in print and paint. A body of work based around “Beauty and the Beast” a classic tale of love, rejection and prejudice, where the beauty is the beast and the beast is the beauty. An allegory, a symbolic representation or a metaphor for my feelings towards ART.

I have always loved the idea of Mail Art – the forerunner of the Internet!

Here is a newspaper clipping about the exhibition at West Buckland school. To see larger image click here

Dead gannets and rubber gloves

Dead birds and rubber gloves, pouches of Chinese fresh drinking water, sections of discarded fishing nets strewn across the tourist beach, stinking of rotting carcasses and seaweed. I think this might be what they call pollution or maybe the destruction of one of the finest surfing beaches in North Devon.

Photographs taken on Woolacombe beach May 2013.


Sans jury ni récompense

I wish I felt like experimenting with paint.

Aquetin carried out an experiment studying the light passing through the colored panes of glass in his veranda. Bernard wrote and commented on this experiment, ‘Aquetin observed the light streaming through the coloured panes of a glazed door and noticed that yellow produced an impression of sunlight; green of dawn; blue of night; red of twilight.’ Bernard painted ‘The Reaper’ in the key of yellow (often repeated later by Van Gough) and in the key of blue, ‘The Avenue de Clichy at Evening’. These paintings were exhibited at the Revue Independante, at the Salon des Independants and at the headquarters of Les Vingt in Brussells. Read more…

The Société des Artistes Indépendants (Society of Independent Artists), Salon des Indépendants, formed in Paris 19 July 1884. The association began with the organization of massive exhibitions in Paris and was established in response to the rigid traditionalism of the official government-sponsored Salon. Their exhibitions were where new artworks were often first displayed and where paintings were widely discussed and in some cases caused controversial outrage in the newspapers and journals of the polite, conservative Parisian society.

Choosing the tagline “No jury nor awards” (Sans jury ni récompense) the society’s aims were to champion new ideas and thoughts that were prevalent in the cafe cultures of Paris and Europe. These contemporary ideas were being marginalized by mainstream critics and galleries. The strategic alliance between these artists from different backgrounds and methodologies was extremely successful in promoting their collective vision. The publicity gained by this ‘outsider’ tactic became the launching pad for many artists, who by gaining notoriety and publicity, crossed over into the mainstream.

Albert Dubois-Pillet, Odilon Redon, Georges Seurat and Paul Signac were among its co-founders. For three decades their annual exhibitions moulded the art of the early 20th century. World War I brought a closure to the salon, though the Artistes Indépendants remained active.

Found somewhere to develop my 35mm film

With the demise of Jessops in Barnstaple I thought I was going to struggle to get my 35mm colour film processed – I found a place in South Molton so the panic is over.

Swingboats Woolacombe Beach by 35mm_photographs

The image above was taken with my trusty Pentax P30 35mm camera (no 3702885) using an out of date roll of Kodak Gold film (Kodak GT 800-4). There is something sad about motionless swingboats.

These are on Woolacombe Beach and I always look forward to them being re-erected after the long winter – their colours and painted swirls bring the promise of  hope to the desolate beach.

The winter population of Woolaconbe is very small (around 1,000), but during the summer large numbers of people come to the village for their holidays. Many are motivated to visit because of the excellent surfing conditions found locally.

Swingboats Woolacombe Beach, a photo by 35mm_photographs on Flickr.

The Pentax P30, 35mm film camera  has a semi-automatic mode, which chooses most of the settings but allows for more creativity.

Pentax P30 has shutter speeds from 1/1000 of a second to 1 second. The automatic mode on this film camera chooses the best shutter speed and aperture setting for the natural light available.

In 1952 Asahi Optical introduced its first camera, the Asahiflex (the first Japanese SLR using 35mm film). The name “Pentax” was originally a registered trademark of the East German VEB Zeiss Ikon (from “Pentaprism” and “Contax”) but, as all Germans patents were annulled with the country’s defeat, the name “Pentax” was taken by the Asahi Optical in 1957. Since then the company has been primarily known for its photographic products, distributed under the name “Asahi Pentax” (equipment was imported to the United States from the 1950s until the mid-1970s by Honeywell Corporation and branded “Honeywell Pentax”). The company was renamed Pentax Corporation in 2002. It was one of the world’s largest optical companies, producing still cameras, binoculars, spectacle lenses, and a variety of other optical instruments. In 2004 Pentax had about 6000 employees.

Swingboats Woolacombe Beach

Jessops Europe Limited

Jessops Europe Limited, trading as Jessops, is a British photographic retailing company. It was founded in Leicester in 1935 by Frank Jessop and traded under the name of The Jessop Group Limited. The business entered administration on 9 January 2013 and all Jessops retail stores ceased trading on 11 January 2013 until the British entrepreneur Peter Jones invested several million pounds into the company and formed Jessops Europe Limited.

Six stores opened on 28th March 2013. The re-launch at Oxford Street in London on 28th March 2013 received a huge amount of media interest & was attended by celebrities including actor James Corden.

Creating new artist groups/collectives could be counterproductive

Creating artists networks can sometimes be a pointless exercise. In the social sciences a social group has been defined as two or more humans who interact with one another,  share similar characteristics and collectively have a sense of unity within their interests. Theorists are a wary of definitions which stress the importance of interdependence or objective similarity. Instead, for researchers in the social identity tradition “a group is defined in terms of those who identify themselves as members of the group”.  The idea of sharing experiences, gallery contacts and clients etc. sounds like a very good idea on the surface. The reality is actually rather disappointing.  Social groups come in a myriad of sizes and varieties. For example, a society can be viewed as a large social group. Artists are no different from any other group of people and have an underlying self serving agenda,   they are simply out there to make a fast profit and steal contacts and ideas – well at least the majority are…

Here is an article stolen from New Art Groups Fail – #marketing – promote your art

Often artists’ groups have a core of members who initiate activities and support the rest of the group. Not only is it important to support new groups, it is important for these founding members to fully understand the structures and reasons for creating new groups. They must be asked ‘Why are you doing this?’ and ‘Are there other groups around that already fulfill your needs and aims?’ Creating new artist groups/collectives could be counterproductive and create an even more fragmented environment. It is important that a robust armature is created for a network to succeed. If this is achieved then it would be a formidable and powerful organisation.

A mentoring scheme which enables artists and crafts people to get access to strategies and processes needed to create successful art and business practice would be highly beneficial to individuals and groups. North Devon Web can help you with setting up an artist website and help you to promote your art.

Our skills are at the ‘start up’ phase of businesses and organizations, where the creativity of the entrepreneur or group is at its most inventive and vulnerable. We find the energy that is created very infectious but we also know that this enthusiasm gradually dies and needs ‘mothering’ to take it to the next growth phase. To achieve sustainability is key, and we have wide and varied experience of achieving this both in a traditional business environment and in pioneering innovations.

North Devon Web belongs to a network of websites that host in a green way. North Devon Web is helping to prevent the release of 2,660 metric tons of carbon dioxide from entering the atmosphere each year by hosting on ‘Green Servers’ – as a result, the network’s energy efficiency is equal to planting about 2,390 acres of trees, not driving 6.1 million miles, or removing 510 cars from the road. We are here to help you stay in business.

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