Stephen Skidmore & John Bevis: The Window Paintings
Hardcover | 16.3 x 0.7 x 20.5 cm | 32 pp
Coracle | 2015
Edition of 200
The Window Paintings series looks up from from the window of the artist's bedsit to treetops, rooflines and clouds, in almost colour-free compositions that re-examine the scarce variations of a view both mundane and ominous of the suburban dormitory.
The poem written to accompany the paintings is in six sections. It has a jagged, almost improvised quality which marks a departure from the author’s previous essays.
Fragments of past lives of occupants of the room are imagined in a series of interactions between the view from the window, whether studied or glimpsed, and what is going on inside, in a montage described by Simon Cutts as ‘a cold-war narrative’.
Hardcover | 16.3 x 0.7 x 20.5 cm | 32 pp
Coracle | 2015
Edition of 200
The Window Paintings series looks up from from the window of the artist's bedsit to treetops, rooflines and clouds, in almost colour-free compositions that re-examine the scarce variations of a view both mundane and ominous of the suburban dormitory.
The poem written to accompany the paintings is in six sections. It has a jagged, almost improvised quality which marks a departure from the author’s previous essays.
Fragments of past lives of occupants of the room are imagined in a series of interactions between the view from the window, whether studied or glimpsed, and what is going on inside, in a montage described by Simon Cutts as ‘a cold-war narrative’.
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Hardcover | 16.3 x 0.7 x 20.5 cm | 32 pp
Coracle | 2015
Edition of 200
The Window Paintings series looks up from from the window of the artist's bedsit to treetops, rooflines and clouds, in almost colour-free compositions that re-examine the scarce variations of a view both mundane and ominous of the suburban dormitory.
The poem written to accompany the paintings is in six sections. It has a jagged, almost improvised quality which marks a departure from the author’s previous essays.
Fragments of past lives of occupants of the room are imagined in a series of interactions between the view from the window, whether studied or glimpsed, and what is going on inside, in a montage described by Simon Cutts as ‘a cold-war narrative’.
