HE knows the nose grater. That One! It’s all about the fear of the un- known, the un- nose. The nose grater. Fear of change, nothing can change the nose grater, the nose they knows; the knows grater. They, the power elites, immune from prosecution with their gangs of fascist thugs. They nose. the nose grater. Harken to the voice of the Ku Klux Klan. They nose the nose grater. So Great, your nose. When They Grated his knows he felt great. They Nose. Is it a high nose or a low nose; only the Knows greater nose. The organized stalkers, the CID. and Mi5; only they nose too much about the high knows. Thank goodness for the Fifth Reich! The Nose greater knows, the quintessence of nosing into the affairs of the prole’s nose. We must worship the nose greater, it’s so de- lib- er-ate and nosing; we know, they nose I nose the nose greater. Ko-nt-ro-ll-ed in the klan town settlement, the cockney penal colony of knowsing. I see know difference between what they are do- sing and the great nose, the high nose. Torture sanctioned by gimps and jealous knowsers, because They don’t like the cut of your jib or the look of your nose; the organized stalkers; they want to stay on top of the nose, so they nose anon. Always They nose; programmed by gimps and the CID. They nose for sure in the fascist police state; a moribund democracy, full of high nose above the ground. Not high enough or is it knot low enough? They’re knots in wood, the domain of the wood to hide the woodkop. The woodkop nose. He’s always knowsing. But they don’t exist, the minions of the woodkop and his dominion! The Rockefellers and the Rothschilds of this and other worlds; they’re so know “THEY”; they support the nose grater, and are waiting for the final solution; the uber plan of galaxy colonization. Luckily they Nose more than you can possibly imagine. Every aspect of the nose of your life is kontrolled by the kolonists; much easier to persecute the disabled than the nose grater; those minions of the power elites; programmed to indulge their noses. Phew! What a smell; zonk yourself out on crack and acid; reprogram your knows and think again! All of what They nose is garbage. Why can’t they fight it? Fight the Nose greater? C’est impossible! But those who knows grate the nose grater itself, after all the nose grater is only temporary, like the US; purely contingent. We knows your narratives, and they are what is known as submission. Change who needs it? When you live high on the nose? Change is for losers and the desperadoes and the knots. They’re definitely knot; so desperate because their all tied up in knots of hairs. It’s what They say that counts. They have a platform, a lecture theatre mobbed by people who are definitely knot, nasty or impolite; thoroughly korrekt in every little detail; the society of the knots; the knots who know about the various different levels of knotting and knitting hair together so that it’s all untangled. Untangle the hair from the skin eh? All of what they know is Knon- sense Ku- ked up by some knutty professors with a grudge against the proles who failed quite miserably to arm and destroy the fatal nose grater. Of course, They are all good. How could they be anything else with all of their privileges and knowing? Their corruption and fascism? They despaired around 1970, and ever since They have only been interested in knuts; because that’s what They are! He prefers the Franco- American aesthetic to that of the Anglo- Saxon. They love people so much that they simply cannot draw them, towards perversion and the sick gangs of stalkers and electronic harassers, including journalists, and extra- judicial Torquemadas! They nose, they Nose it’s Grater. What would you Grate, say, if you could. Would it be a carrot? A turnip or a nose? I see know difference between the nose grater and the extreme violence that they leave to their heroes and protectors, the GCHKu and the City of London Police! I would slice their craniums and eat their little brains sautéed lightly with garlic!
My paintings are full of imperfections. This is the way that I want them, I am philosophically opposed to “perfection” in art and I don’t believe that it exists anyway, here on Earth. Man is a fallen creature who kills and maims his own kind repeatedly; maybe God is perfect, but there are no perfect human beings. I am concerned with God and His will on Earth; I believe that the Creation of God can be seen everywhere, if one has eyes to see and ears to hear. By God I mean the ultimate creator of the whole universe. God reveals himself through nature, and by strange sequences of events commonly regarded as “co- incidence” “serendipity” and “synchronicity”. In my paintings there are elements of “chance” which I have emphasized in paint. I rely on the channeling of spirits and the karma of God whenever I paint; this is the thing that fascinates me about painting, and keeps me going. I am opposed to the idea of the regulation and policing of art; that is fascism. Art has never harmed anyone. The police have.
My paintings are analogous to jazz and rock music. I am fully Rocked, and I have been since I was a teenager, mainly by the MC5 and Hawkwind. Recently I have begun to paint musicians and artists from photographs that I have found on- line. I never copy anything, but I enter the spirit of the artist I choose, and thus paint the artist in the way that I see them. It is a bit like walking along the “Walk of Fame” in Hollywood. It is the artists you choose that are significant. I live in Cornwall the most south- westerly extreme of the UK. It was here that I finally found peace, and communion with nature, and a relationship with the sea. It was from observing the sea that I learnt to paint in oils.
I am a dissident UK. artist. My work is only for aficionados. I have travelled extensively in Europe, I am an an admirer of Rouault, Soutine and Van Gogh I use oil paint because it is a far more flexible medium than acrylic. I have emphasized the irregularities and texture of my paintings over the course of thirty years. Each of my paintings is entirely different from the other, I believe that it is essential to exploit the awkwardness that arises from the human condition, rather than to aspire to an ersatz notion of perfection. There is a great deal of different texture in my work which is impossible to achieve using the nasty acrylic stuff. These textures and surfaces produced from oil paint are essential to the appreciation of the paintings, I never like to repeat myself; whenever I begin a new painting I create something original and new. I am fundamentally an expressionist, I am influenced by abstract expressionism; often I have to leave my paintings in a horizontal position to dry, just as many of the abstract expressionists did.
My paintings are full of subtleties and nuances related to texture and touch which only the cognoscenti can understand. The paintings of the Porthleven Harbour of Refuge are about ninety percent done outdoors. I believe in the magic of plein air painting. As a student I worked in gloss enamel paint and coal tar solution. This experience has informed my current work. I think of myself as an avant -garde artist, and not someone who wants to “turn the clock back”. I am also influenced by the minimalist movement, I create patterns in my paintings which are at times simple and almost geometric. It is impossible as an artist not to be influenced by all of these avant- garde tendencies. If you are obsessed by art, then my work is for you! You can read my autobiography called “The Boogie Man” which is available from Amazon. If you would like to purchase a painting or two, then please e mail me at email@example.com
Recent shows and publications...
October 2013; Exhibited at the “Vienna Showcase International Art Fair”.
Autumn 2013; Appeared in NY Arts Magazine.
July 3rd 2013 - July 23rd 2013; Exhibition “Global Projects, International Artists at Home and Abroad”, Broadway Gallery, New York City.
Spring 2013; Appeared in NY Arts Magazine.
November 16th 2012 - December 10th 2012; Exhibition; “International Artists at Home and Abroad”, Broadway Gallery, New York City.
August 24th 2012 - September 13th 2012; Exhibition; “The Kaleidoscope of the Mind”. Agora Gallery, New York City.
2010 Publication of my autobiography by Athena Press, “The Boogie Man”.