All of my life I have fought for freedom. I am a very positive, freedom loving person, and I appreciate the freedom I have gained in Cornwall to pursue my Art. Art is like a wonderful exotic garden of delights to me, and not some terrible monster to be mistrusted and feared. I feel sad for the rest of England where the forces of repression hold sway and oppress artists terribly, using microwaves, harassment and torture. I think of Cornwall as a separate country, even though technically speaking it isn’t. Artists are appreciated in Cornwall because we beautify the scenery and contribute to the local economy.
During my education I became familiar with all of the nineteenth and twentieth century avant garde movements. It is impossible not to be influenced by all of these tendencies from the past, and I believe that you can see that in my paintings. I certainly do not view my work as in any way “regressive”. It is only fascists who believe in eternal progress anyway; they have no appreciation of nature or of cyclical time. They don’t seem to know that civilizations rise and fall, as the Earth and the solar system move through the galaxy. An artist can work in any medium that is presented to him or her, therefore I do not measure out the quantities of oil, and turpentine in an absurd manifestation of over- rationalism. The sea is the biggest influence on my paintings. When I paint I become the sea. The sea is a kind of metaphor to me, representing the cosmos and the currents of the aether which help humanity to grow, or occasionally annihilate mankind, to begin anew.
There are many artists in the village where I live; some of them are elderly or disabled, and art is a great comfort and solace to them as well as to me. It was only in mental hospital, when I had time to sit down and think about it, that I realised that my previous commitment to neo- dadaism was misguided. It is not “the ruling class” who need art, but the injured, the disabled and the mentally ill. “The Ruling Class” in point of fact would sooner see art eliminated altogether. This is why the century old dada programme is promoted in “Art Institutions”. If you think that my work is absolutely hilarious, then you probably don’t understand it. I would be much happier with a smile or a grin. In England the neo- dadaists and the police lord it over honest artists, and look down their noses at artists with integrity. They have introduced intrusive fascist surveillance technology to intimidate and persecute real artists, so we cannot gain the peace of mind necessary for a good meditation. Drawing is essential to the process of visualization, it need not be done in a coldly analytical manner. There are as many ways of drawing as there are people on Earth.
I have the vision of a painting in my head, I think that before one begins to paint it is essential to have this visionary experience. It is a vision of a magnificent work, completed in the mid twentieth century, with many varied textures, and subtle modulations of tone and many spectra of hue with a plenitude of oil paint. This is the painting that I will make; it is not one that I have ever seen. Perhaps it would be a cross between a Bomberg an Auerbach and a Cezanne. I was keen on the old Tate gallery basement rooms where some of the best British art was hidden away for only the cognoscenti to enjoy, in privacy. Artists are like the barometers of democracy, registering the the amount of freedom that exists within the state. The artistic scene is in a sorry condition in England, where many artists have succumbed to cyberneticist doctrines, and try to make their work as smooth and commodified as possible, with lots of pure white backgrounds. Even the artistic cliques and elites in London encourage the ribald repressive reaction to art, an attitude originating within the CID.
For more information concerning my artistic development, see “The Boogie Man” by Douglas Lyell, which is available at Amazon. If you are interested in purchasing one or more paintings, please e mail me at firstname.lastname@example.org.
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”.