 |
| 'Mental Mapping': My Half |
After months of
hard work by Andrew Smith and myself, and an inevitably intense last two or
three weeks, the ‘Mental Mapping’
exhibition is finally up at Rugby Art Gallery & Museum’s Floor One Gallery. I suppose there are always
things one might have done differently in retrospect, but I’m actually very pleased
with the exhibition generally, and happy to stand by the work I have on display
in particular. That feels significant,
because neither Andrew nor I are massively experienced as exhibitors, and because
pretty much everything on display was produced specifically for the show in
well under a year.
 |
| 'Mental Mapping': Andrew's Half |
 |
| Andrew Smith: Inkjet Prints |
For my part, I
had tentatively exhibited work in a few open exhibitions in the past, whilst my
participation in 2012’s ‘If a PicturePaints A Thousand Words…’ show felt like a big step forward, (particularly as
it suggested my own somewhat ‘late flowering’ as an artist might be starting to
justify itself). However, this feels like
something else altogether, not least because Andrew and I made most of it happen
for ourselves, (with the help of a small number of key individuals), - from
making the initial phone call that secured the gallery slot, to finally hanging
all that new work on the walls. As we
put the work up, and I saw that it was all paying off, I realised just how
invested I have been, (and remain), in the whole project. When we started all this, I didn’t know for
certain if I could pull it off, - but was happy to try. I now know I can - and would be happy to do
so again.
 |
| Shaun Morris & Andrew Do Battle With Floor One's Tricky Curved Wall |
Anyway, the
images here tell the story of how the show went up, and how it looked as I
quickly grabbed a few photos, just prior to trundling my kit out of the
building. As ever, the logistics of the
hang, and the ever-insistent ticking of the clock, meant there was little
available time to really reflect on the work in any meaningful way, beyond
being satisfied it was well situated on the walls. We have a Private View planned next weekend, and
I intend to spend all day with the show.
That will be my real chance to reflect on the work, and the dialogue
between Andrew’s and my own, properly.
Inevitably, I’ll write a more considered post about that when the time
comes.
 |
| My 'Map 7' & 'Map 5' Paintings (L), & 'Cement Cycle' Photographs (R) |
 |
| My Paintings. (L - R): 'Map 6', 'Map 7', 'Map 5' |
Sharp-eyed
regular visitors here will, however, notice a couple of previously unseen paintings in
my half of the exhibition. ‘Map 6’ and ‘Map 7’ are the largest, and pictorially most complex of the set,
being a return to my customary 1metre-square format. They’re also the last things to be completed,
with ‘7’ having reached a conclusion
just 48 hours before I packed my half of the show. Turner, of course, used to complete paintings
on the walls of the Royal Academy, but that was showmanship more than
necessity, and this felt tight enough for me.
It did mean there was no time to tell the world about them ahead of
their hanging, which is also something I’ll address as soon as possible. It’s still too early for me to really see
them for what they are, but, as they went up on the wall, my feeling was they
stood up well enough amongst the rest of my pieces.
 |
| My Paintings. (L-R): 'Map 1', 'Map 2', 'Map 3', 'Map 4', 'Map 6', 'Map 7' |
Of course, experienced hands would tell me that all the slightly emotive stuff at the start of this post is a bit meaningless, until we can satisfy ourselves that people have seen, and hopefully - responded in some way to, the show. I don’t think the venue could be much better in terms of potential footfall, housing, as it does, Rugby’s municipal Art Gallery, Museum and Library, together in one building. The whole area of publicity, PR and marketing (ugh!), is something I’m sure I could usefully become a lot more intelligent or strategic about in the future, but I think we’ve made a reasonable attempt, for novices. My hunch is, that’s the whole area many artists of a certain age or temperament might find the biggest chore, but there’s no point putting all that effort into the actual work, if you don’t make some attempt to blow a trumpet about it. It’s an exhibition, after all; the clue’s in the title.
 |
| The Venue |
In the light of
that, my last job of the day was to wander around the centre of Rugby in search
of kindly disposed enterprises that might display one of our remaining posters. As I made my way back to the van, through the
Clock Towers Shopping Centre, I came across another example of my painting work
that I’d long forgotten about.
In a previous
incarnation, I was employed for many years at a now defunct company in Leicester called Farmer Studios
Ltd. Our work included a
wide variety of creative projects for the retail, leisure and museum sectors, -
including the themed clock that still presides over Rugby’s shoppers. I had a hand in the paintwork of that piece and,
whilst it hardly reflects my current aesthetic preferences, I was pleased to
see that it’s still working, and in relatively good condition.
 |
| Farmer Studios Ltd: 'Themed Clock', The Clock Towers Shopping Centre, Rugby |
I reflected on
how far I’ve come in finding my own voice since then - and how differently focused
my creative energies now are. In those
days, I earned a living realising other people’s dreams in a wholly commercial
arena. Regardless of whether or not I
ever gain any material recompense from my current efforts, (not necessarily the
point, but you know…) - it does feel a bit like it’s my time now. Nevertheless, it should be acknowledged that
the practical skills, and experience of making something happen, gained in
numerous leisure attractions, shop windows and themed displays, equipped me to go
through this process with pleasingly little drama or real stress. I may not have always appreciated it, back
then - when deadlines or working conditions were getting silly, but nothing is
wasted it seems.
 |
| I Was Hardly Going To Ignore This View, Was I? |
I’ll compile a
proper role call of all those who have helped us with ‘Mental Mapping’ once the dust really settles, but at this stage, I
should thank Tammany Heap, Jessica Litherland and Jo Harrison at RAGM, for
their guidance and for trusting us with their building, and fellow artist and
staunch ally, Shaun Morris, for helping us to get everything on the walls.
'Mental Mapping: New Work By Andrew Smith & Hugh Marwood' continues until 18 June 2015, at: Floor One Gallery, Rugby Art Gallery & Museum, Little Elborow Street, Rugby, Warwickshire, CV21 3BZ.
* Bob Dylan, 'Rosemary, Lily And The Jack Of Hearts', From The Album, 'Blood On The Tracks', CBS, 1975
