I’ve been slowly getting the hang of where things are in Berkeley. I have a borrowed bicycle to skidaddle downtown to get gouache and oranges, or raid the library. What a library! A huge poetry section for a start (I haven’t even set foot in Fiction yet.) ‘How many books can one borrow at a time?’ I asked ‘Up to 85’ the man said… I opted for a cautious four.
There are also tiny box libraries out on peoples’ front yards, a great idea where neighbours get to exchange books. I’ve been helping myself. Back in the studio I rearrange fragments of these texts to create newly voiced poems, guessing my way to more index card text collages. I’m pleased to say that amazing poet Tom Jenks is going to publish 56 of them as a pack of cards with his innovative press/project Zimzalla this summer.
It’s a booky region. I went to San Francisco earlier this month to hear poet DS Marriott read at legendary bookstore, City Lights. I’d been impressed by his work before, having been asked to draw him for the cover of Poetry London in 2018. This time I could draw and listen to him live. He read poems re Grime music and the Grenfell tragedy, amongst other things, his poems glittered: images, musicality, truth impeccably spliced. A thread of humour lit up the afro-pessimism, a theory he talked about in the Q and A at the end. Haunting poems and ideas, appropriately, I bought his newest book: Duppies.
Back at HQ last week it was my turn to read poems and show some of my work in progress. I put up new paintings in the studio, and Dan Schifrin, who manages the residency locally, organised the party. We had borscht & a reading, and a rainy night was enlivened by art, poetry and plenty of interesting people.
The chance to develop further as a painter is perhaps the chief thrill of this residency. I haven’t had such a luxury combination of time and space to myself for a few decades. I like working at night in the studio. Feelings and sensations are amplified by solitude and the novelty of being in this new place. I stare and stare out walking in the day: lemons on trees, house sized cacti, purple houses with pink camellias, capricious typography neoned on corners.
I try to lock down the sensations as they hurtle past my eyeballs & into my head.
I’m trying as usual, to find a correspondence between what I see and what I think and feel, but trying is not an effective way to paint. I have to screw myself up like a scrap of paper and twist myself through the keyhole, then hurl myself at the wall using only my materials. Here’s a picture of how that’s going.
Here I have added rain in the form of strips cut from sacrificial book waste, and last night the orange ribbon edges.
I hold on to the idea that creative work is resistance. Today I mark what I hope is a temporary severance of the UK from Europe, by carrying on with my very European painting & dedicating what I do to the spirit of unity, neighbourliness & internationalism.
Thanks for reading my blog!
4 thoughts on “European in America, continued.”
Oh my, Sophie – this is the best work you’ve ever done as a painter! It fills my soul with its magnificent colors and designs that appear out of nowhere to surprise and delight. There seems to be “something” you’re surrendering to in Berkeley, some fantastic spark that’s simply been waiting to be ignited. I’m so happy for you – the work fills me with wonder and ideas, and what could be better than that? Much love from Wendy
Thank you Wendy, I’m so glad it speaks to you. The great thing is, I’m older now! So hopefully I’m making work with a lot of the practicing behind me. I can’t look at it or I’d stop and question. Time to trust that the eye, the arm will know what they could do next. 😘😘
This is great, Sophie! You’re such an interesting artist…totally original and unique xxx
Thanks so much for reading Adriana, and v kind words. Encouraging!