November Ekphrastic Challenge: Day 19

Jane Dougherty's avatarJane Dougherty Writes

The painting Er gaan koppen rollen (Heads will roll) by Marcel Herms is the inspiration for this poem, day 19 of Paul Brookes’ challenge.

MH19 Er gaan koppen rollen, mixed media on cardboard, 30,1 x 39,8 cm, 2020

 

Little man

It starts with the scattered toys,
the possession and destruction, little brother
creeping to mother to cry, whinge,
your defensive fists clenching
and denial of the broken shards,
the wheels and sprung guts of toys.

Then at school,
your defence of the right answer,
denouncing the cheat, the one who
is lost, muddled, left behind,
the sly jibes that make them all laugh.

He’ll go far, that one, they say.
He looks out for himself.

And you did, do, will,
you are there, with your many faces
all the same, looking down at us
from the high places,
signing the papers
that will scatter the shards
and sprung guts of the world.

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Wombwell Rainbow Interviews Artworker: sonja benskin mesher

Wombwell Rainbow Interviews Artworker

I am honoured and privileged that the following artworkers local, national and international have agreed to be interviewed by me. I gave the artworkers three options: an emailed list of questions or a more fluid interview via messenger, or an interview on their most recent artwork or a combination of these.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these artworkers you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Threads by sbm

sonja benskin mesher

Born in Bournemouth now lives and works in Wales. Sonja is a full time, independent, multi disciplinary artist. “I like to draw, paint, make and write,. I like the immediacy and physical connection with the media. I like memories that form themselves on the paper. I like the marks and patterns.”

The Interview

1. When and why did you start making artworks?

we all make things from early. i guess as we are discussing art will say 15 years old i started in secret. i felt I needed to.

1.1. What artwork did you make?

..the first work after school art classes was sculpture at the municipal college in bournemouth..

1.2,What was it a sculpture of?

..it was abstract..I was learning mark making I feel on reflection. ..I had wanted badly to go to art college full time when I left school . was given a job by social services instead. .that is why the evening classes were secret.

2. Who introduced you to artworks?

school.miss gardiner.

2.2. Was it her enthusiasm for art?

.yes and her acceptance. .miss hall the other teacher was very critical and exact. .I felt comfortable in miss gardeners studio and sometimes stayed there at break. there or the library.

3. How aware are and were you of the dominating presence of older artworkers traditional and contemporary?

.not at all at first. my lunch breaks in the school library was an introduction. .now I come better informed.

..anselm keiffer..

..cristo..

.. ben nicholson..

..michael ayrton..

..terry frost…

..barbara hepworth..

..howard hodgkin..

..and more…

4. Who of today’s artworkers do you most admire, and why?

..anselm keiffer..

.and um, let me think. ..mainly I admire the work ethic and lack of restraint..

5. What materials are your favourite to work with?

I like drawing a lot. use many tools for this, the usual and unusual. favourite is charcoal and charcoal dust with scoring and drilling etc. painting I will use most stuff and for installation work is anything. ..especially twigs.. #twigsisathing

5.1. Why drawing?

..I like the immediacy, the contact with the work..to see what comes without looking for control.. #wehavenocontrol

5.2. I have heard some artists like to get into a subconscious state without any distractions.

..really?….do you know keiffer’s work paul?

5.3. I don’t. What would you recommend I look at?

oh yes. especially his lead planes inside glass houses…

5.4. Why that one?

because I like planes and it seems I have spelled his name incorrectly… you tube is a good source.over your cities grass will grow.

5.5. What is it about planes you like?

.they fly. .his planes are made of lead and I like lead. it can be cut with just scissors…they fly in the sky over my house. Ii like those with propellers best.

6. What subjects motivate your artworks?

.metaphors. .memories. it changes with time i am in the studio now…. ..i see soaps. keys. bottles. spoons. teeth. light bulbs .. presently I guess the correct situation is effective in moving things forward. ..ladders as a means..corona. the crown the changes the solo flight correct =current predictions

7. Tell me about the artwork projects you have on at the moment.

the work is ongoing , exploring, experimenting to see what comes.

Day Nineteen : Welcome to a special ekphrastic challenge for November. Artworks from Terry Chipp, Marcel Herms, MJ Saucer, P A Morbid, the inspiration for writers, Gaynor Kane, Peach Delphine, sonja benskin mesher, Anindita Sengupta, Liam Michael Stainsby, Sarah Connor, Sarah Reeson, Holly York, Jane Dougherty, Gayle J Greenlea, Susan Darlington, Lydia Wist, Dai Fry, and myself. November 19th.

November 19th

TC19 Mistress Page lll
Mistress by Terry Chipp
MH19 Er gaan koppen rollen, mixed media on cardboard, 30,1 x 39,8 cm, 2020

Er gaan koppen rollen by Marcel Herms

Little man

It starts with the scattered toys,
the possession and destruction, little brother
creeping to mother to cry, whinge,
your defensive fists clenching
and denial of the broken shards,
the wheels and sprung guts of toys.

Then at school,
your defence of the right answer,
denouncing the cheat, the one who
is lost, muddled, left behind,
the sly jibes that make them all laugh.

He’ll go far, that one, they say.
He looks out for himself.

And you did, do, will,
you are there, with your many faces
all the same, looking down at us
from the high places,
signing the papers
that will scatter the shards
and sprung guts of the world.

-Jane Dougherty

Galatea’s Revenge

Fingerless gloves have a literary edge,
leaving fingers open to kisses,
but my fishnet stockings are frugal
with their demure closed toe.
I’ll flounce from the frame into your world,
taking the measure of the third dimension,
ready to write you into my story.

-Holly York 2020

(Mistress Page III)

She Loves It

She’s climbing out of her frame
Confident, gorgeous, up for anything

Most assume she wants to be in that place
But Woman is a reluctant resident
Her circumstances have led her to this curtainless window
She’d rather be somewhere warmer

How could you know that?

Can’t know for sure either way. Hold on a min, yeah, thought so.

What?

It’s a composite image

(Er Gaan Koppen Rollen)

Spin Doctor King Juggler

Gorging on power
Scheming behind the scenes. Yes,
I hold the real crown!

-Lydia Wist

Revolution

Hunger is a maddening mistress,
fatal attraction, grave tease, more
palatable than the gnawing loneliness
of isolation. Who would believe
a rival, small, invisible could rob
so many of health and dignity? I leave
my home one final time, one suitcase
with a change of clothes. My wife
pushes the stroller with our baby
and a box of kittens. The oligarchs
quarantine in castles, calculating profits
over cognac, while the rest of us count
costs, build tent cities, swarm streets
with protests. Revolution is coming.
History proves power belongs to the
people. Heads will roll.

— Gayle J. Greenlea

HEADS WILL ROLL

Heads are going to roll.
Needles click-clicking,
as I knit my liberty caps.
Why would I care,
as the baskets fill,
with a lull of conversation.
I sit in its wooden shadows,
Place de la Révolution.
They think they’re
so fine and mighty
but I’ve heard that
they piss and shit
in the palace corridors.
Sales porcs.
But my work goes
on regardless.
At least my brood
will be warm this winter.

-© Dai Fry 18th November 2020.

:: oh mistress mine ::

start writing
medieval tartlet come scratchy

only once wore such a thing
rocky road bar in horror
least coverage and baggy below

without that leotard
come special

they walked home in the rain
got
missed on the pelican crossing
got pissed in the bar

..sbm..

Mistress Page

She said it was a garden
where we could flower,
a window we could gaze
from, without being seen.
The physical is not
what she cultivated,
flaying us without mercy,
dancing in new skins
a burlesque of awkward animals,
we were rooting for acorns
when she came amongst us,
now we stand on two legs,
taking the cup of forgetfulness,
speaking only
with the voices of leaves.

MH19

We ate of each other
in the darkness of cubicles,
storerooms, the stairwell
a descent beyond despair,
fealty was demanded,
we gave nothing but blood
and time, the keenest blade
had a name never uttered
till we stepped through
the inner door
finding only ourselves
a bucket
and broken window.

-Peach Delphine

Heads, Mistress

will you, please
become her need
that scratched, as one
deception’s smile
enough is feared –
give everything

-Sarah Reeson

Bios and Links

-Terry Chipp

grew up in Thurnscoe and ia now living in Doncaster via Wath Grammar school, Doncaster Art College, Bede College in Durham and 30 years teaching.

He sold his first painting at the Goldthorpe Welfare Hall annual exhibition at the age of 17 and he haven’t stopped painting since.

He escaped the classroom 20 years ago to devote more time to his artwork.  Since then he has set up his own studio in Doncaster, exhibited across the north of England as a member of the Leeds Fine Artists group and had his painting demonstrations featured on the SAA’s Painting and drawing TV channel.  Further afield he has accepted invitations to work with international artists’ groups in Spain, Macedonia, Montenegro and USA where his paintings are held in public and private collections. In 2018 he had a solo exhibition in Warsaw, Poland and a joint exhibition in Germany.

His pictures cover a wide range of styles and subjects from abstract to photo-realism though he frequently returns to his main loves of landscape and people.

Visitors are welcome at his studio in the old Art College on Church View, Doncaster.

e-mail:  terry@terrychipp.co.uk

Facebook:  Terry Chipp Fine Art Painting

Instagram: @chippko.art

-Marcel Herms

is a Dutch visual artist. He is also one of the two men behind the publishing house Petrichor. Freedom is very important in the visual work of Marcel Herms. In his paintings he can express who he really is in complete freedom. Without the social barriers of everyday life.
There is a strong relationship with music. Like music, Herms’ art is about autonomy, freedom, passion, color and rhythm. You can hear the rhythm of the colors, the rhythm of the brushstrokes, the raging cry of the pencil, the subtle melody of a collage. The figures in his paintings rotate around you in shock, they are heavily abstracted, making it unclear what they are doing. Sometimes they look like people, monsters, children or animals, or something in between. Sometimes they disappear to be replaced immediately or to take on a different guise. The paintings invite the viewer to join this journey. Free-spirited.

He collaborates with many different authors, poets, visual artists and audio artists from around the world and his work is published by many different publishers.

www.marcelherms.nl

www.uitgeverijpetrichor.nl

-Jane Dougherty

writes novels, short stories and lots of poems. Among her publications is her first chapbook of poetry, thicker than water. She is also a regular contributor to Visual Verse and the Ekphrastic Review. You can find her on twitter @MJDougherty33 and on her blog https://janedougherty.wordpress.com/

-Peach Delphine

is a queer poet from Tampa, Florida. Infatuated with what remains of the undeveloped Gulf coast. Former cook. Has had poems in Cypress Press, Feral Poetry, IceFloe Press, Petrichor. Can be found on Twitter@Peach Delphine

-Dai Fry

is a poet living on the south coast of England. Originally from Swansea. Wales was and still is a huge influence on everything. My pen is my brush. Twitter:  

@thnargg

Web: http://seekingthedarklight.co.uk

-Susan Darlington

Susan Darlington’s poetry regularly explores the female experience through nature-based symbolism and stories of transformation. It has been published in Fragmented Voices, Algebra Of Owls, Dreams Walking, and Anti-Heroin Chic among others. Her debut collection, ‘Under The Devil’s Moon’, was published by Penniless Press Publications (2015). Follow her @S_sanDarlington    

-Holly York

lives in Atlanta, Georgia with her two large, frightening lapdogs. A PhD in French language and literature, she has retired from teaching French to university students, as well as from fierce competition in martial arts and distance running. She has produced the chapbooks Backwards Through the Rekroy Wen, Scapes, and Postcard Poetry 2020. When she isn’t hard at work writing poems in English, she might be found reading them in French to her long-suffering grandchildren, who don’t yet speak French.

-Gayle J. Greenlea

is an award-winning poet and counselor for survivors of sexual and gender-related violence. Her poem, “Wonderland”, received the Australian Poetry Prod Award in 2011. She shortlisted and longlisted for the Fish Poetry Prize in 2013, and debuted her first novel Zero Gravity at the KGB Literary Bar in Manhattan in 2016. Her work has been published in St. Julian Press, Rebelle Society, A Time to Speak, Astronomy Magazine, Headline Poetry and Press and The Australian Health Review.

-Helen Allison

lives in the North East of Scotland. Her first poetry collection ‘ Tree standing small’ was published in 2018 with Clochoderick Press. Her work has appeared in journals and magazines in print and online and she is working towards a second collection.

-Lydia Wist

Like someone who tries out hats or other samples before making a final decision, experimenting with different ideas and techniques is how Lydia spends some of her time. This allows for other portions of time to speak through the lens of fiction, creative nonfiction and art. You can find her work at Cargo Collective , Lydia Wist Creative and on Twitter @Lydiawist.

Website links:

https://cargocollective.com/lydiawist

https://www.facebook.com/lydiawistcreative/

-Sarah Connor

lives in the wild, wet, south-west of England, surrounded by mud and apple trees. She writes poems to make sense of the world, and would rather weed than wash up.

-sonja benskin mesher

-Liam Stainsby

holds a bachelor in English Literature and Creative Writing and is a secondary school teacher of English and Creative Writing. Liam is currently writing his first, professional collection of poetry entitled Borders that explores poetry from all around the world. Liam also Co-Hosts a movie discussion podcast entitled: The Pick and Mix Podcast. Liam writes under the pseudonym ‘Michael The Poet’ 

Links: WordPress: https://michael-the-poet.com/

Twitter: stainsby_liam

Instagram: Michael The Poet

-Sarah Reeson

is 54, married and a mother of two, who has been writing and telling stories since childhood. Over the last decade she has utilised writing not just as entertainment, but as a means to improve personal communication skills. That process unexpectedly uncovered increasingly difficult and unpleasant feelings, many forgotten for decades. Diagnosed as a historic trauma survivor in May 2019, Mental health issues had previously hindered the entirety of her adult life: the shift into writing as expression and part of a larger journey into self-awareness began to slowly unwind for her from the past, providing inspiration and focus for a late career change as a multidisciplined artist.

Website: http://internetofwords.com

-Gaynor Kane

is a Northern Irish poet from Belfast. She has two poetry pamphlets, and a full collection, from Hedgehog Poetry Press, they are Circling the Sun, Memory Forest and Venus in pink marble (2018, 2019 and Summer 2020 respectively). She is co-author, along with Karen Mooney, of Penned In a poetry pamphlet written in response to the pandemic and due for release 30th November 2020.  Follow her on Twitter @gaynorkane or read more at www.gaynorkane.com.

Anindita Sengupta

is the author of Walk Like Monsters (Paperwall, 2016) and City of Water (Sahitya Akademi, 2010). Her work has appeared in anthologies and journals such as Plume, 580 Split, One and Breakwater Review. She is Contributing Editor, Poetry, at Barren Magazine. She has received fellowships and awards from the Charles Wallace Trust India, the International Reporting Project, TFA India and Muse India. She currently lives in Los Angeles, California. Her website is http://aninditasengupta.com 

The Grey Area: A Mystery by Ken Edwards (Grand Iota)

tearsinthefence's avatarTears in the Fence

For many literary writers, the mystery about mystery novels is why their purportedly formulaic structures, simplified motivations, credibility-stretching twists and over-tidy resolutions find greater readership than their own more full-bodied works. And thence they have a go at the genre, with predictably distinctive results. In Gilbert Adair’s the author did it. In Georges Perec’s the language did it. In Patrick Modiano’s the ‘who’ would’ve done it, if there’d been any ‘who’ in the first place. So, on finding that this author is the ex-editor of Reality Street, we’re basically not expecting Miss Marple.

Phidias Peralta has left London in nebulous circumstances and repaired to the coast – between quaint Deadhurst and down-at-heel Deadman’s Beach – to relaunch his private investigator business. His first case looks straightforward enough: a ninety-year-old woman who vanished suddenly a year before. Her family are looking for ‘closure’. Uh-oh; not in a novel like this. Is…

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The Service Elevator – A Poem by Kushal Poddar w/an image by Robert Frede Kenter

robertfredekenter's avatarIceFloe Press

The Service Elevator


“I cannot do it.”, says my mother.
“Sure, you can. Either way
we’ll angle the baby out.”, the nurse says,
and the hallucinogens injected pave
A 60s-green plastic-painted corridor.
My mother waddles toward a door, ajar,
at the end, and on the other side
she sees her mother bleeding out her cancer.
My mother feels she’ll birth a girl.
The service elevator, out-of-order, sits
like a praying mantis in the dim shaft.
Outside, April decontaminates the streets;
the moody rain taps the last of the cobblestones;
my father’s umbrella guards his anxiety.
Nothing happens. Nothing happens often,
and isn’t that something?
I see the stars whoosh past me as I descend.
The path will not remain in the memory.
My mother will die forty-three summers later.
The river will recede to reveal its bed, unkempt,
hidden from the visitors, always has kept
the bundles of letters and…

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spaces – A Prose Poem by Boloere Seibidor

robertfredekenter's avatarIceFloe Press

spaces


BoloereSeibidoris a Nigerian poet & writer, with works forthcoming / featured on numerous magazines/journals, within and outside of Nigeria.She emerged winner of the Glassdoor Poetically Written Prose Contest 2020, and won honourable mention in the 2019 Kreative Diadem Creative Writing Contest. Most times, she also works as a ghostwriter. She enjoys reading, writing, editing, copywriting, and sipping coffee as early as 5am.Boloereis greatly inspired by true life experiences, good music, and beautiful sceneries. She tweets @ boloere_sod

Banner Art: Open Window, an image by Robert Frede Kenter Tweets: @frede_kenter

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Wombwell Rainbow Interviews Artworker: Su Zi

Wombwell Rainbow Interviews Artworker

I am honoured and privileged that the following artworkers local, national and international have agreed to be interviewed by me. I gave the artworkers three options: an emailed list of questions or a more fluid interview via messenger, or an interview about their latest artwork, or a combination of these.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these artworkers you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Su Zi

is equal parts writer, artist, and badass eco-feminist.  She holds an MA in English and has published in such places as Driving DigestExquisite Corpse, and Blue Heron Review (where she was nominated for The Pushcart Prize). She resides in Florida with her horses, dogs, cats, and turtles where she runs The Red Mare Chapbook Series.

Her Etsy website is https://www.etsy.com/uk/people/suzi00

The Interview

  1. When and why did you start making artworks?

As a kid. I distinctly remember becoming increasingly fascinated with making objects that existed in reality that were drawn from my thoughts. I have one piece from then that somehow survived my tempestuous life.

1.1. What was the fascination with making objects?

The fascination then and now is making an idea exist in our reality.

2. Do you see the image clearly in your head first, or work towards the finished product subconsciously?

Mostly subconsciously. I have the genre/ art media decided upon, and go from there. Some projects are more organic in evolution than others. Some end result in a more traditional look, maybe, than others

3. Do you have favourite materials to work with?

Well, since every art media requires a capitol investment in supplies, there are some that I probably will not explore more anymore: glass, for example. Currently, I work in printmaking, bookmaking, fiber, paint, dye and pottery, and such things as soaps and salves

4. Who introduced you to making things?

I also occasionally garden, which is a different kind of building ideas into reality, a folk art, maybe. Well, there were various types of assignments in school, and in the little girls troupe to which I belonged. At some point, I became entranced— I remember discovering painting.

4.1. How did you discover it?

I had an assignment to depict the American Revolution. The only paper I had was shelving paper, so I decided on a panorama. The only paints and brushes I had was the one brush in a tin of 8 watercolors. I was frustrated with how I only had one green I could mix into shades. My mother took me to this local mom n pop art store, and they all got me a few watercolors in tubes. When I sent back to my project, I was entranced with how the additional pigments added to much to the image I was trying to create went.

5. What is your daily artwork routine?

It varies. I can no longer work in my preferred method, due to the debilitating effects of the damn Crohn’s, which was to do marathon sessions that sometimes lasted for days at a time. I have an unreliable amount of energy these days, and my process is under evolution constantly. Some projects are more amenable to be allowed to sit for times between work sessions, other projects require dedicated time because the media will not forgive lapses in time between sessions— dyeing and pottery come to mind. Collaboration is something I do with Red Mare, the poetry chapbook series I have been making for over a decade. I did a one shot collaboration with a Poet, who put a poem to a drawing I sent her for fun.

6. What motivates you to make things?

I feel as if I must. Even when I have found myself in circumstances not conducive to art, I still sketch

7. Who introduced you to artwork?

Interesting question. My parents had prints up, cubists in frames. I was a wee little kid and I saw these everyday. The idea that an image can be something, but not be an exact representation has stayed with me. My parents took us to museums, so I had a sense of painting, high art as it exists in reality. I was in love without realizing it. I studied art books… one was very influential. I also viewed feminist work when I was an undergraduate, and that has held sway with me since,

7.1 Which one was very influential, and why is it so?

For actual people I knew, there were the other art oriented kids in college, so I felt that it was a perfectly reasonable interest to have. Direct aesthetic influence though, alas , has been limited to one woman showing me very basic yarn craft, etc.

I remember when I discovered Andy Warhol. I was a preteen girl and I saw his work and was thunderstruck.

I must also testify to two enduring influences: seeing a display of suffragette pamphlets, discovery of the Roycrofters and also I had the great privilege to see in person the full installation of The Dinner Party.

7.2 What thunderstruck you about Warhol?

His vision, his awareness of and recontextualization of everyday images, and his energetic use of color

As I learned about him, he built art communities, and it’s still a rare and amazing thing.

7.3 How did the suffragette pamphlets endure for you?

They were small books. I just felt physically responsive to these small books. Between those and the books of the Roycrofters, I developed a life long affection for little books. The impetuous for Red Mare probably springs from this.

8. Who of today’s artworkers do you most admire, and why?

Amzie Adams— a painter in New Orleans. He is one of the few artists whose work I acquired multiple pieces from. Amzie’s work has a delicate balance between representation and whimsy. He is visually an expressionist , but the culture of New Orleans is steeped into his work. Red Focks is a painter, among other sterling talents, an abstractionist . I have both a painting and a book with his painting reproduced on the cover. Belinda Subraman is a hugely important arts person, both for her ever evolving own work, and the huge effort she brings to the arts community

9. What would you say to someone who asked you “How do you become an artworker?”

Pick a media that feels comfortable first, acquire a modest start of materials, and start messing around. It’s nice if you can draw. Not all artists can draw. Keep using your materials, and don’t worry about the pieces done or abandoned, put them in a pile and keep working. You may win a contest or not, keep working. Other people may or may not like your work, keep working. At some point, you will have to decide between art supplies and other expenses. At some point, you will show your work. Keep working.

10. Tell me about artwork projects you are involved in at the moment.

I am sewing up— literally, as they have handsewn bindings— Red Mare 20. This edition was sponsored by Poets and Writers Covid Relief. The poet is Jillian Weise.8:53 PMI have a book of poems coming out this weekend, Chicago Poems, from Breaking Rules. It’s the ghost manuscript finally seeing light of day—.

Chicago Poems can be purchased here: https://www.facebook.com/100000997547769/posts/3610380969005119/?d=n

Day Eighteen : Welcome to a special ekphrastic challenge for November. Artworks from Terry Chipp, Marcel Herms, MJ Saucer, P A Morbid, the inspiration for writers, Gaynor Kane, Peach Delphine, Sally O’Dowd, sonja benskin mesher, Anindita Sengupta, Liam Michael Stainsby, Sarah Connor, Sarah Reeson, Holly York, Jane Dougherty, Gayle J Greenlea, Susan Darlington, Lydia Wist, Dai Fry, and myself. November 18th.

November Eighteenth

MH18 Draussen ist feindlich, mixed media on paper, 17 x 17 cm, 2020
Daussen ist feindlich by Marcel Herms
TC18 Making contact

Making Contact by Terry Chipp

Draussen ist Feindlich)

Not Sure About This”

Mist
Smiley faces leering on walls
Red lights, handprints, graffiti –
Sigils deprecating to the area
Shapes that refuse to announce themselves
Gloomy driveways empty but for unexplainable lights
Wrong turns
Inedible fungi
Danger of death keep out
Dark copses, deep thickets
Defensive stakes
The caltrops you missed
Turn back

(Making Contact)

Communication Skills

Before most things, contact was made only by talking or shouting, written language or performance.
The man’s phone screen looked weird but that he could handle.
He hoped the mysterious communicator wasn’t about to shout.

-Lydia Wist

Song of Innocence

“What?” says William Blake,
“an eye phone? Whatever for?
To amplify my visions?
But it’s precisely
for my visions that
they call me mad,
though hearing visions
wouldn’t be so bad
for the sympathetic
to the synesthetic.
And to think that it springs
from a grain of sand
and can be held
in the palm of the hand.
Who knew?”

-Holly York 2020

Volcano

I cannot go, no I cannot go outside
Instead I sleep in the jaws of the wolf
Fold my bones into the origami night,
a star sputtering in atrophy, white comma
rendered on a black page. I cannot write,
no, I cannot write, the connection
lost from brain to hand. Outside, the ocean
curls into a lip. We’ve done
our best. How long we sat by that dead
volcano searching for glowing lava,
perforations in earth’s surface like a letter
writ in fire. I cannot go, no I cannot go
outside. Your memory there like knives,
hostile to my heart, your voice disembodied
in my ear.

— Gayle J. Greenlea

MY PHONE AND I

I live alone under the stairs
not under the stars
-pay attention please- but
mostly alone with my iphone.

Safe from passers by
their long bloody knives.

There is a spider in here
his name is Rodney.
He tells me I am the
third visitor who
has come to stay,
but the first one with
a smart phone.

He wants me to
download the
BBC weather app.
He also has a keen interest
in current affairs.

I’m still thinking
about the app: but
we’ve had some
interesting conversations
about Brexit and the virus.

© Dai Fry 17th November 2020.

: 999 ::

numbers

they add some for emergency

dreaming nothing works
becomes seedy like rubber buttons
stitched on particular
wear

they come at us with knives

power houses

talking with tongues
with nowhere else to go
no one else to torment

i laugh at them talking in metaphors
yet I do the same

there are raindrops on the window
while I die
of laughing

..sbm..

The film outside

Boot-clatter, shrill shriek
silent knife-slip, bullet-rattle,
and blood pools in the shadows.

It’s cold outside,
say the dead,

and we tip-tap, click and post,
trapping the thrill in real time
for global applause.

-Jane Dougherty

Making Contact

A found poem from incoming texts on my phone

Been awake for hours
Been meaning to text you.
I’ve booked us in for class tonight.
Milk & bread.
That will be better in this climate.
Such a lovely painting.
Running about 10mins late.
Can’t remember if I mentioned
the wee job to you.
Bless you.
I’m at the library.
Going to put my feet up this eve
& treat Venus to a drink.
We’re sorry you’re leaving us.
Okie dokie.
Thanks for taking the time
to complete this survey.

-Gaynor Kane

Hostile Contact

each hand which holds
welcoming balm
may yet destroy
this moment, calm;
fear erupts –
without alarm

-Sarah Reeson

Draussen

There is no horizon
in the old photographs
always a blade and revolver,
even great-grandmothers
mother sitting sidesaddle
on her favorite horse
had a pistol in her sash.

Word was they eloped
fleeing across three states
on horseback and by steamboat,
coming down to scrub
and prairie, working
cattle, smoking mullet,
a slab house full
of palmetto bugs
mosquitoes,
but there were stars
sometimes panther tracks
wind off the Gulf,
a sky where their names
faded away.

-Peach Delphine

Bios and Links

-Terry Chipp

grew up in Thurnscoe and ia now living in Doncaster via Wath Grammar school, Doncaster Art College, Bede College in Durham and 30 years teaching.

He sold his first painting at the Goldthorpe Welfare Hall annual exhibition at the age of 17 and he haven’t stopped painting since.

He escaped the classroom 20 years ago to devote more time to his artwork.  Since then he has set up his own studio in Doncaster, exhibited across the north of England as a member of the Leeds Fine Artists group and had his painting demonstrations featured on the SAA’s Painting and drawing TV channel.  Further afield he has accepted invitations to work with international artists’ groups in Spain, Macedonia, Montenegro and USA where his paintings are held in public and private collections. In 2018 he had a solo exhibition in Warsaw, Poland and a joint exhibition in Germany.

His pictures cover a wide range of styles and subjects from abstract to photo-realism though he frequently returns to his main loves of landscape and people.

Visitors are welcome at his studio in the old Art College on Church View, Doncaster.

e-mail:  terry@terrychipp.co.uk

Facebook:  Terry Chipp Fine Art Painting

Instagram: @chippko.art

-Marcel Herms

is a Dutch visual artist. He is also one of the two men behind the publishing house Petrichor. Freedom is very important in the visual work of Marcel Herms. In his paintings he can express who he really is in complete freedom. Without the social barriers of everyday life.
There is a strong relationship with music. Like music, Herms’ art is about autonomy, freedom, passion, color and rhythm. You can hear the rhythm of the colors, the rhythm of the brushstrokes, the raging cry of the pencil, the subtle melody of a collage. The figures in his paintings rotate around you in shock, they are heavily abstracted, making it unclear what they are doing. Sometimes they look like people, monsters, children or animals, or something in between. Sometimes they disappear to be replaced immediately or to take on a different guise. The paintings invite the viewer to join this journey. Free-spirited.

He collaborates with many different authors, poets, visual artists and audio artists from around the world and his work is published by many different publishers.

www.marcelherms.nl

www.uitgeverijpetrichor.nl

-Jane Dougherty

writes novels, short stories and lots of poems. Among her publications is her first chapbook of poetry, thicker than water. She is also a regular contributor to Visual Verse and the Ekphrastic Review. You can find her on twitter @MJDougherty33 and on her blog https://janedougherty.wordpress.com/

-Peach Delphine

is a queer poet from Tampa, Florida. Infatuated with what remains of the undeveloped Gulf coast. Former cook. Has had poems in Cypress Press, Feral Poetry, IceFloe Press, Petrichor. Can be found on Twitter@Peach Delphine

-Dai Fry

is a poet living on the south coast of England. Originally from Swansea. Wales was and still is a huge influence on everything. My pen is my brush. Twitter:  

@thnargg

Web: http://seekingthedarklight.co.uk

-Susan Darlington

Susan Darlington’s poetry regularly explores the female experience through nature-based symbolism and stories of transformation. It has been published in Fragmented Voices, Algebra Of Owls, Dreams Walking, and Anti-Heroin Chic among others. Her debut collection, ‘Under The Devil’s Moon’, was published by Penniless Press Publications (2015). Follow her @S_sanDarlington    

-Holly York

lives in Atlanta, Georgia with her two large, frightening lapdogs. A PhD in French language and literature, she has retired from teaching French to university students, as well as from fierce competition in martial arts and distance running. She has produced the chapbooks Backwards Through the Rekroy Wen, Scapes, and Postcard Poetry 2020. When she isn’t hard at work writing poems in English, she might be found reading them in French to her long-suffering grandchildren, who don’t yet speak French.

-Gayle J. Greenlea

is an award-winning poet and counselor for survivors of sexual and gender-related violence. Her poem, “Wonderland”, received the Australian Poetry Prod Award in 2011. She shortlisted and longlisted for the Fish Poetry Prize in 2013, and debuted her first novel Zero Gravity at the KGB Literary Bar in Manhattan in 2016. Her work has been published in St. Julian Press, Rebelle Society, A Time to Speak, Astronomy Magazine, Headline Poetry and Press and The Australian Health Review.

-Helen Allison

lives in the North East of Scotland. Her first poetry collection ‘ Tree standing small’ was published in 2018 with Clochoderick Press. Her work has appeared in journals and magazines in print and online and she is working towards a second collection.

-Lydia Wist

Like someone who tries out hats or other samples before making a final decision, experimenting with different ideas and techniques is how Lydia spends some of her time. This allows for other portions of time to speak through the lens of fiction, creative nonfiction and art. You can find her work at Cargo Collective , Lydia Wist Creative and on Twitter @Lydiawist.

Website links:

https://cargocollective.com/lydiawist

https://www.facebook.com/lydiawistcreative/

-Sarah Connor

lives in the wild, wet, south-west of England, surrounded by mud and apple trees. She writes poems to make sense of the world, and would rather weed than wash up.

-sonja benskin mesher

-Liam Stainsby

holds a bachelor in English Literature and Creative Writing and is a secondary school teacher of English and Creative Writing. Liam is currently writing his first, professional collection of poetry entitled Borders that explores poetry from all around the world. Liam also Co-Hosts a movie discussion podcast entitled: The Pick and Mix Podcast. Liam writes under the pseudonym ‘Michael The Poet’ 

Links: WordPress: https://michael-the-poet.com/

Twitter: stainsby_liam

Instagram: Michael The Poet

-Sarah Reeson

is 54, married and a mother of two, who has been writing and telling stories since childhood. Over the last decade she has utilised writing not just as entertainment, but as a means to improve personal communication skills. That process unexpectedly uncovered increasingly difficult and unpleasant feelings, many forgotten for decades. Diagnosed as a historic trauma survivor in May 2019, Mental health issues had previously hindered the entirety of her adult life: the shift into writing as expression and part of a larger journey into self-awareness began to slowly unwind for her from the past, providing inspiration and focus for a late career change as a multidisciplined artist.

Website: http://internetofwords.com

-Gaynor Kane

is a Northern Irish poet from Belfast. She has two poetry pamphlets, and a full collection, from Hedgehog Poetry Press, they are Circling the Sun, Memory Forest and Venus in pink marble (2018, 2019 and Summer 2020 respectively). She is co-author, along with Karen Mooney, of Penned In a poetry pamphlet written in response to the pandemic and due for release 30th November 2020.  Follow her on Twitter @gaynorkane or read more at www.gaynorkane.com.

Anindita Sengupta

is the author of Walk Like Monsters (Paperwall, 2016) and City of Water (Sahitya Akademi, 2010). Her work has appeared in anthologies and journals such as Plume, 580 Split, One and Breakwater Review. She is Contributing Editor, Poetry, at Barren Magazine. She has received fellowships and awards from the Charles Wallace Trust India, the International Reporting Project, TFA India and Muse India. She currently lives in Los Angeles, California. Her website is http://aninditasengupta.com 

Wombwell Rainbow Interviews Artworker: Jane Cornwell

I am honoured and privileged that the following artworkers local, national and international have agreed to be interviewed by me. I gave the artworkers three options: an emailed list of questions or a more fluid interview via messenger, or an interview about their latest artwork, or a combination of these.
The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these artworkers you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Robert Burns for The Wombwell Rainbow

Jane Cornwell

graduated with a BA(hons)Design from Glasgow School of Art, age 20. She is a member of The Paisley Art Institute and she has exhibited with the RSW at the National Gallery of Scotland, the SSA, Knock Castle Gallery, the Glasgow Group, the MacMillan Exhibition at Bonhams, The House For An Art Lover, Pittenweem Arts Festival, The Compass Gallery, The Revive Show, the East Linton Art Exhibition and Strathkelvin Annual Art Exhibition. Her paintings are in private collections in Scotland, Ireland, India and the USA. She is the ‘Hoose Illustrator’ for The Wee Book Company.

Her website is www.janecornwell.co.uk

The Interview

  1. When and why did you start making artworks?

I’ve always had a compulsive need to draw, paint and create. Since I was very young it’s always been my favourite way to relax. I went to Glasgow School of Art when I was quite young, then became an art teacher. I kept my own painting going in my spare time, and then began illustrating books.

2. Who introduced you to artworks?

My mother, Ann Armstong, is an artist. There were always art materials around at home and she encouraged me to try out a lot of different media and techniques. She also taught me the importance of drawing accurately and being able to work through the creative process, and of looking after my art materials and my work space. She introduced me to textiles and silversmithing as well. My sister Kirstin became a jeweller, we both studied at Glasgow School of Art around the same time, we loved it.

3. How aware are and were you of the dominating presence of older artworkers traditional and contemporary?

I am very aware of following in my mother’s footsteps. As a child visits to Kelvingrove Museum and Art Gallery introduced me to the Scottish Colourists, the Impressionists and Post Impressionists. Printmaker Willie Rodger was a huge influence on me, I love the humour in his quirky lino cuts. Willie’s father taught my grandfather, Willie taught my mum, and he taught me how to print. Excellent craftmanship is very important in my own work. I feel it is crucial to preserve and pass on those skills.

4. What is your daily artwork routine?

If I am illustrating a book or a painting for someone else I work in a very organised disciplined way as there are usually tight deadlines. If it is for my own pleasure I work in a more intuitive way, and I use or make whatever I feel like at the time.

5. What motivates you to make art?

I suppose for me it is a soothing activity. When I am painting, I completely switch off from everything, I become completely focussed on what I am doing. Often I become unaware of time passing. It is totally absorbing.

6. What is your work ethic?

I am very disciplined when I am working to complete portraits or illustrations for clients, to make sure I meet their deadlines. However I have two children who will always come first and I work around them. If I have a deadline, I can often be working into the wee hours to make sure I deliver on time. I really enjoyed taking part in The Wombwell Rainbow Ekphrastic Challenge, April 2020, it focussed me to complete a painting each day during lock down. It was so rewarding to read the poets responses to my art work and very motivating. I would recommend this experience to everyone!

7. How do the artists you studied when you were young influence your work today?

As a child I loved reading and I used to copy illustrations by Arthur Rackham, Helen Oxenbury and NC Wyeth. I love Helen Oxenbury’s use of line and soft watercolour wash, I like her very simple but expressive character drawing. I like the decorative use of pattern in Neilsen’s illustrations. Dulac’s use of colour is lovely. I would love it if my art or illustrations inspired children to draw and paint.

8. Who of today’s artworkers do you admire the most and why?

It is difficult to choose just a few, there are so many! I love David Hockney’s very careful accurate drawing style and quality of line. I prefer his earlier work, but his use of colour is consistently beautiful. My children enjoyed stories illustrated by all my favourites, and also Axel Scheffler’s distinctive illustrations. We also really like Chris Mould’s quirky and skilful illustrations too. Kate Leiper’s beautiful coloured pencil drawings are stunning.

9. Why do you make art, as opposed to doing anything else?

As a teenager and student, I had lots of different part time jobs and I learned a lot from all of them. For me, creating and encouraging others to be creative is the most rewarding experience.

10. What would you say to someone who asked you “How do you become an artworker?”

My advice to a younger artist would be: Try to find a steady job doing something you enjoy until you feel confident that a creative career will work for you. After art school I became an art teacher as I enjoyed working with teenagers. I also continued to exhibit and sell paintings. I stopped teaching recently, I was injured by two students fighting at school and I was very lucky I didn’t lose my eye. This made me decide to focus on creating my own art work.

11. Tell me about the artwork projects you have on at the moment.

I am working with musician Addie Brik to create a cover for her new album, and also with children’s author Lorraine Johnstone to illustrate a picture book for young readers. I just finished illustrating a book for adults by Susan Cohen about poet Robert Burns.