Hallowe'en!

As well as all the excitement of carving pumpkins into jack-o-lanterns every October,

it is the season for me to take out last year's pumpkin mush from the freezer and make a few batches of muffins. These get decorated as jack-o-lanterns too and get sent into school and/or Girl Guides with my daughter for her and her friends. If I have enough mush, I can make additional batches of muffins for sharing around elsewhere.

So after Hallowe'en night, the carved pumpkins get chopped and peeled and cut up into small cubes or rectangles.

A large orange (or several small ones or clementines) and a lemon are peeled and juiced. The juice and a tiny bit of water are added to the pot of pumpkin cubes (the pumpkin release a lot of water when cooking). The peel is cut into slivers

and added to the pot. Cook this gently on low-medium heat, stirring periodically, in a large heavy-bottomed saucepan.

When all the pumpkin is cooked, it is soft enough to be mashed. Tilt the pot a bit to see how much liquid there is; if there is a lot of liquid, raise the heat to boil some of it off,

The pumpkin mush needs to be moist in order to give moisture and flavour to future pumpkin muffins. I will give the recipe for the muffins in another post, but if you can't wait, use pumpkin mush in the same recipes that you use for carrot cake or banana bread. Compare the picture below to the picture above to get an idea of how much liquid should not be left in the final mush.

I packed the mush into equal size freezer bags. In the past I have used weights of 350 g and 500 g, which also work fine in my recipes for muffins, and also in pumpkin pie (I'll give a recipe for that in a future post too). So it is a little bit random that these packs are 450 g but I figured it was a reasonable amount when I was packing and weighing. I put the 3 bags of mush into an additional freezer bag but will only use one bag at a time. One bag of mush will happily be used in a recipe that makes about 5 dozen small muffins or 2 pies.

Glasgow - 1

 I was in Glasgow a week ago, on the class "getting to know you" trip (I have recently started the MA in Art & Research Collaboration programme through IADT Dún Laoghaire). I had the feet walked off me visiting art shows and artist studios over three days, but it was interesting and exhilarating. Every morning there was quite a fog, which burned off by the afternoon, so the weather was very pleasant and dry. Friday morning (Oct 16) was spent exploring the downtown area and soaking in the city atmosphere before meeting up with the group for our planned gallery visits. I am not sure if this photo gives a good enough indication of how hilly the streets are in the city, but they most certainly are steep!

One of the architectural features I thought very interesting was the street entrance stairs to buildings, almost like flying buttresses over dry moats -- there would be additional steps leading down to the lower level to gain access to the below-footpath-level premises.

Buchanan St. is a busy pedestrian street.

There are many contrasting buildings on Buchanan St. (and elsewhere) and often the ground floor is a high street shop.

I was fascinated by this decorative building. The shop below just happened to be Laura Ashley.

Though the windows of this build seem plain in comparison to the building above, I liked the top story decoration and the semi circular window and its accompanying arch work.

I didn't look to see what denomination this church represented, just focused on the decoration.

This clock tower is also part of the church.

 There was a lot of carved stone decoration on buildings. This may have been at the entrance to a sports shop.

I think this man may have been on the other side of the sports shop entrance.

Gare d'Antibes - finished painting!

I was away in the US & Canada towards the end of June and beginning of July so I had to leave my painting till my return. I worked on it on my return in July and in August finally put my signature to the completed painting.

My husband took lots of detail photos for me. Where mountains meet sky.

Sunset sky.

Antibes train station.

Tree branches with mountain background.

Treeline, mountains and sky.

Here is the complete painting: Gare d'Antibes, acrylic on paper, approx 220 cm x 267 cm, triptych, 2015.

More Bells!

As I mentioned in a previous post, my husband, sculptor James Hayes, has been experimenting with making bells. Although also working on these at home, he usually gets more concentrated time to focus on the annual Umha Aois (bronze age) experimental bronze casting symposium. This summer it was held in Skibbereen, West Cork. Still in a bell frame of mind, a recent trip to the National Museum of Ireland got us looking at different bells, especially noticing their handles. I have previously posted pictures of the 2-loop handled bells, but this bell also struck us because it was so curvy.

The handle on this bell seems to be a simple coil.

This bell was notable because it was sheet iron riveted together and possibly brazed.

While at Dublinia a few weeks back, there was a lovely rounded Viking hand bell in a display. The clapper can be seen in the photo, and this is worth noting as the typical Irish bells did not have clappers but were tapped like an instrument.

Here is a selection of bells my husband has made and a leather-wrapped bronze tool to sound a bell. The smaller flattish bell in the centre rear is made of sheet iron and has been folded and riveted together; a leather thong has been threaded through holes to make a handle. James plans to braze (bronze coat) that bell. The other bells are cast bronze.

Gare d'Antibes - new painting in progress

This is the view from the third floor apartment in Antibes, where we have stayed a few times with relatives. This is looking to the left, north. at the maritime alps at sunset over Gare d'Antibes. The view right is gorgeous too, looking south the harbour is only a 5-10 minute walk away with the scultpure, Le Nomade looking out over the Mediterranean. This picture was taken last August.

 If I had turned the camera left at the time, the picture would have been of yachts and a floodlit Le Nomade. 

But I digress. I did a quick sketch last August of the parts of the view that intrigued me: the line of the mountains and the large tree in front of the station. The sketchbook I was using at the time is one of my own, pocket sized using recycled materials.

A few months ago my husband was assisting me in putting up some kraft paper so that I could start a new painting of the sunset over Gare d'Antibes.

I first did a preliminary chalk drawing. Immediate changes are apparent once I started to add paint. 

And so the process of painting begins with some blocks of colour...

What We Call Love Part 2

The "What We Call Love" exhibition at IMMA in Dublin is so large, and there is much to remember about it. I particularly liked this delicate piece by Louise Bourgeois. As I said previously, I am more familiar with her large-scale works, but the small works are just as powerful in their expression of intimacy. The embracing figures are hand sewn soft sculptures and this looks to be a hand blown glass enclosure, reminding one of a bell jar.

 Again in another small piece by Bourgeois, the embracing figures are surrounded by another material. This soft gauze can be seen as a cocoon-like protective enclosure.

I personally don't think any discussion of love can take place without a mention of John & Yoko, so I was pleased to see a few photos of them in a political section of the exhibition -- from the Montreal bed-in, their wedding at Gibraltar and a picture from The Acorn Project.

 There were Irish artists also included in the show. I have long admired the work of sculptor Dorothy Walker, so was delighted to see some of her work that I hadn't seen before. The Passion Bed, 1993, is a delicate piece made of steel wire and sandblasted wine glasses.

Here is a detail of it:

Garrett Phelan is another Irish artist whose work I am familiar with. I first met Garrett when he was working in Temple Bar Gallery & Studios at the time of my first solo exhibition, and have bumped into him a few times over the past 20 or so years. It was delightful to meet him again at the IMMA launch. Below is one of his pieces that were included in the show, New Faith Love Song. Unfortunately the other other piece, a gorgeous gold reliquary specially commissioned for this show is too new to find its image on the web, and the launch was too crowded for me to get a good photo of it!

I can't remember when or where I saw a whole exhibition of Rebecca Horn's complex machine installations (The Tate Modern or IMMA?) but I enjoyed seeing her work again. The photo of course cannot show the sound and movement in the piece -- the steel "arrow" tapping against one of the glass funnels, the guns moving until they randomly face each other perfectly and shoot liquid at each other.

IMMA touts this as its "most ambitious exhibition to date" and it most definitely is. I am only skimming the top of the barrel with my blog. The exhibition includes nearly 200 works of national and international importance and interest. In addition to the artists that I have highlighted there is also work by Andy Warhol, Damien Hirst, Nan Goldin, Marina Abramovich, Meret Oppenheim, Felix Gonzalez-Torres, Jean Genet -- the list goes on. The exhibition continues to Feb 7 2016, see it if you can! Further information at imma.ie.

What We Call Love Part 1

The exhibition "What We Call Love" opened recently at IMMA in Dublin. I braved monsoon-like weather and had to leave my house at 4.30 to catch a bus that took two hours to get into the city during rush hour. But it was worth it. The show was huge and encompassed all media with work by modern masters and contemporary international and Irish artists. Certainly love provides a wide topic for interpretation and exposition. In the first room of the exhibition it was love at first sight -- this tiny carving on lime wood, "Couple" is by Picasso.

Also in the first room, it was my pleasure to walk around this bronze construction by Alberto Giacometti. It's a complicated piece with clues to its original molding, but impossible to see welds (could it have been cast in one piece?). There is a lovely painting by Max Ernst on the wall behind the sculpture.

I was surprised by this Dali diptych, as I have never seen images of it before. Other Dali paintings that I've seen live have always surprised me by being a lot smaller than I expect; in this respect I was quite surprised at how comparatively large this piece is!

In one of the rooms there were quite a number of works by Marcel Duchamp with which I was unfamiliar. There were four small-scale bronze and mixed media sculptures in enclosed plinth cases, but there were also a series of etchings on Japanese vellum that were exquisite. The etchings were all "drawings" that referenced old master works. The picture here unfortunately does no justice to the work, but I didn't want to exclude Duchamp from the vicarious experience of the exhibition.

Brancusi's "Kiss" is iconic to me -- I am sure an image of this appears in every art history book I have ever seen, so it was great to see the real sculpture.

I am more familiar with Louise Bourgeois' large scale works so it was lovely to see the intimate pieces that were included in this exhibition. The embracing figures in the middle of this beaded mandala are soft sculptures. I will include more images of her work in another post about this exhibition.