Marginal Movements: Introduction

Marginal Movements was a series of ten paintings.  Integral to the paintings were ten musical movements, eight pieces written specifically for the paintings, plus two established works chosen for their affinity to the overall concept. 

These large, non-figurative images combined marginal rhythmic movements of forms within the actual margins or edges of the paintings’ composition.  All the images had their initial forms based on the margins, or bank of a pond.  The music itself was composed of short or ‘marginal’ movements.  A subtle twist to the show was that these paintings could be seen as figurative as well as abstract compositions, thus completing a ‘marginal movement’. 

Marginal Movements originated from a short poem I wrote based on the wonders of peering into water as a child.  

Goldfish, rippled sundance, velvet shadows below the mill,
eyes with ceaseless wonder, seldom are they still.
An outstretched hand will scoop, to fill jam jars full of promise,
life’s happiness made to share, to ponder at its secrets unveiled with every stare.
Tiddlers ,tadpoles, terrapins, their friends the dragonflies.
Have we retained the picture we had with child’s eyes?
That precious piece which says it all ... believable ... secure.
Delight without, delight within, toward days of evermore.

It was developed into an audio-visual recollection, the poem being recited by Greg Lake for the CD, with Keith Emerson’s introduction to the exhibition brochure. 

The entire project took just over a year to complete, with participation by the musicians, Penelope Cave, harpsichord; Neal Williams, multi-instrumentals; the late Don Hooley, guitar and Malcolm Dunn, keyboards, guitar and overall sound recording and production.  I wrote and performed three pieces myself.

All the original paintings are now sold but limited edition prints are available

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