Abstract Artist

Oct 27




Art Forum – Gregor Palmer





Every month, we will be introducing an artist whose work I happen to personally favor. This opening month it is the work of UK abstract artist, Gregor Palmer.

We feel it best to allow her work to speak for itself and have you read this un edited clip from some of her wonderful expressive writings. I felt this relevant an artist as the opener for Art Forum – as there is a most incredible exhibition at the Royal Academy of Art in Mayfair, London on Abstract art – which is worth a trip to London if you can. It runs until January 2nd, 2017.

Eddy Frankel with Time Out Magazine does a good review of this highly impressive art event.


“Ground Control to Major Tom”

From the artist:

Creative people are always worth listening to. In an article on sculptor Anthony Gormley he said ‘This is what I was born to do, or what I’ve found I can do.”

He went on to talk about his figures installed on Crosby beach on Merseyside – some are even in the sea! ‘That’s the test, I think. If you can’t think of a place without the object or the object without the place, it means it’s made a marriage.’

Painting has that aspect too. All the lines and forms and colours have to look as though they’ve always been right there and could be nowhere else. If you look at a favourite picture and block out any little detail with your thumb the whole thing is less, less perfect, paler. Nothing should be present that isn’t absolutely necessary.
How does any creative person find that special state that brings all their powers together, focussed and alert? Do you have a routine you go through before you start a project, not a putting-off-the-moment one like cleaning under the sink, but a collecting-together in the building tension?

Mike Leigh, the film director, says he starts work on a new film with no working script. He looks for spontaneity from the actors and likes the on-the-edge-ness he gets when there’s no safety fall-back. Philip Glass the composer tries not to make decisions before entering a rehearsal room, for the same reasons. You have to find the conditions that help the work. For me any plan or envisioning kills creativity dead, while every brush stroke risks wrecking the whole thing. Risk is the stimulant that makes the creative department alert, and risk is what keeps the project alive and vital right until it’s finally wrapped up and you can push your chair back, or put away your pen or your brush or chisel.

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“Shine on Me”