David Bomberg

Gear Girls by Matilda Bjorklund by Theresa Kneppers

gear girls Matilda bjorklund.jpeg

Gear Girls by Matilda Bjorklund is part of a speculative fiction series influenced by artworks in the BRCA collection. Inspired by Bomberg´s experience as a soldier during WWI and his tendency of turning human subjects into “simple” and “angular” shapes, the steampunk genre conveys themes of the machine age and war and their physical/psychological impact on the individual. The Underground Bomb Store (1942) by David Bomberg and its element of machinery and almost cave-like structure was an inspiration was an inspiration for a scene in the story.

Jack Thorp hurried across the military camp with a cardboard box in his arms. He dodged and zig-zagged between the excited young soldiers that were headed towards the base´s newly built performance area. It had rained the night before, and the humid summer heat had not dried up the camp as expected. Instead, it had turned the camp into a mud pit that was covered in a lingering smell of damp tents and sweat. However, there was a cheerful buzz in the air and in the monotone ocean of green uniforms, a few men were carrying the colourful red and blue poster that had been hung around the camp, informing the men of the arrival and once in a lifetime performance by the “Gear Girls.” While Jack was gliding and slipping past the laughing soldiers, and occasionally falling with his knees into the mud, he thanked everything holy that the box was taped shut. It was a miracle that he had found the box in the first place, and if the content in the package was to be ruined, he would need another miracle to witness the next sunrise. 

“I found it! I got it!” exclaimed Jack when he arrived at his destination that was a lonesome wobbly tent on the outskirt of the camp. Upon his grand entrance where he dragged mud into the tent and accidentally dropping the package, four young women turned around to look at him. During his absence, the girls had gotten ready and despite touring across several British military camps in France, he never got used to the outfits. All the girls were wearing playful corsets dresses that displayed both collarbones and upper thighs, but their arms and legs were covered with white gloves and stockings. A solider from their previous stops had cheered on the girls, calling them “dilly pirates,” which became an image that Jack could not get out of his head. The dresses were in rich emerald and mulberry colours, and the corsets were trimmed with that scratchy black lace that Elise had used for some of the theatre costumes back home. However, given their situation, Jack knew better than to comment on their costumes considering what options they had from the beginning. 

“You better not be pulling our legs Jack,” Margaret snatched the box from his arms and immediately tore it open. Elsie, who was putting on another layer of blush and struggling to pin a strand of her blonde hair, walked over and gasped at the sight of brand-new gloves and stockings. Bertha and Rosie rushed over and all the girls were looking at the pearl white fabric sticking out of the package as if it were a pot of gold at the end of the rainbow or a meal that wasn´t canned soup. Carefully, Bertha reached to take a pair of gloves but Margaret slapped away her hand. 

“Old ones off before new ones on,” and with that, they all started to get undressed. Jack stood silent as he watched Rosie and Elsie take off their worn-out gloves, only to reveal metal prosthetic arms and hands underneath. Bertha pulled down a stocking and when she reached her knee, she stretched the fabric so it would go down the smooth surface of her metal leg. Margaret had for some time had issues with the mechanics of her right hand, so she had some difficulty undressing. However, her stubborn nature never subdued and soon there was a pile of steam and oil-stained gloves and stockings on the ground.

“These came in the nick of time,” Rosie reached towards the box, but stopped when she saw her hand. With a hefty pull followed by a loud snap, she tweaked her obtruding left pinky. Her fingers tended to dislocate and point in unnatural directions whenever she moved her arms too much. This was the result of misfire in one of the British military bases at the beginning of their tour, where Rosie had been shot in her wrist, causing the mechanics of her prosthetic to malfunction. Jack, the girls´ manager, but also mechanic, could temporarily fix them but often the damages they got during their travels were beyond the help of a screwdriver or backup bolts. That was partly the reason they had gotten this job to begin with. At a time of war, they could withstand much more than the average human. However, this was a fact that they had to cover up at any cost. Three years of fighting, the soldiers needed to be reminded of joy, so when Elsie and the others made the best of their situation and offered to perform for the British soldiers, they had been granted the opportunity with the condition that they needed to hide their prosthetics, as “the men did not need to be reminded of the war.” 

“Jack, do you mind?” Bertha´s voice cut through Jack´s daydreaming and he realized that he had been staring. He was so used to seeing the girls´ metal arms and legs, that he was ashamed to admit that he often forgot that they were not supposed to be there. 

“I will go and let them know that you are ready soon,” Jack awkwardly turned around and left the tent. Soon there was a silence, and the girls all looked at each other. 

“They must all be by the stage by now,” said Rosie, shaking her hands nervously. Not wanting her fingers to dislocate again, Bertha walked up to hold her hands, feeling Rosie´s cool touch. In the accident, Bertha had been the only lucky one to not have her hands or arms injured, but she often wondered whether that had been a curse or not. With the constant upkeep and maintenance of her leg prosthetics, her hands seemed to have turned permanently cold due to the chilly metal, and when touching the others, the goosebumps on her skin not only served as a reminder of what happened to her, but also to the others. 

“Ease up on the blush, will you?” Elsie looked away from the mirror and met Margaret´s eyes as she sat on the bed, gently pulling up a stocking over her stiff leg. Even without hearing Margaret's thick Scottish accent, Elsie would always be able to pinpoint where Margaret was based on her scent. She was amazed that even in the stuffy air of perfume and damp tent fabric, that Margaret still managed to smell like freshly picked oranges.

“It´s called stage makeup, it is supposed to be a lot,” hmphed Elsie, and padded on another layer for good measure. They were all bit on the edge for this performance, and the tell-tale signs were that Bertha could not focus on her French crossword puzzles, Rosie didn´t scribble down ideas in her recipe book, Elsie didn´t quietly recite lines from Shakespeare and Margaret wasn´t fast asleep on the bed five minutes before showtime. The new stockings had calmed them down a bit, they looked good, and the several rough days of travel and lack of sleep was neatly covered by makeup and hairpins. 

“This is the last one, and then we go home,” stated Bertha, still holding Rosie´s hands. 

“That´s right,” Margaret stood up and placed her hands on her hips. “We have travelled across France unharmed...” She paused for a bit, unconsciously looking at Rosie´s wrist, Elsie´s bump on her calf and her own tilting ankle. 

“Well, almost. It has been rough, but ladies, we did it. After this performance we can go home, with everything we have earned and start our lives again. I know it is more pressure today as we are performing in front of Captain Winford and his men, them being war heroes and all, but this is just like any other performance. We will knock their socks off, they won´t know what hit them,” and with that, the girls determinately pulled on their long coats and left for the stage, for one final time. 

 

 

“We have some very special guests tonight...” while the presenter spoke to the crowd, Elsie, and Rosie, peaked between the curtains to see them men in the crowd. They were cheering and screaming “Gear Girls” and the presenter made big downward gestures to calm them down, but it was to no avail. 

“Lively aren't they, “started Rosie but paused when she came across a familiar face in the audience. She squinted her eyes and tried locking eyes on the man´s face but it was difficult as they were all wearing helmets and moving around. 

“Say, isn´t that Joshua Winford? That must be him,” Elsie tried to follow Rosie´s gaze but Margaret stepped forward and squeezed in between them. 

“Please tell me you are joking,” Margaret scanned the crowd until she saw Joshua´s warm smile and dimpled cheek. Elsie leaned over to tap Rosie´s shoulder, making a who-is-Joshua-gesture.

“Joshua is a former classmate of Margaret and I, we used to be really good friends. He moved away a few years back to join the military. That serious looking man at the right is Captain Winford, his father.” 

Bertha leaned over them. 

“He is cute,” she stated simply, but was met with Elsie´s surprised expression. 

“Captain Winford?” 

“Don´t be a bunny,” scowled Margaret, but Elsie spotted the blush behind her freckles.

“I think we´re up,” The men´s cheering got increasingly louder, and the presenter's patience was running out. The girls removed their coats and got in formation. They spotted Jack running over to the record player and giving them the thumbs up. They got in their cheeky, smiling poses and stood still for a few seconds. Margaret felt the weight of her unstable ankle but smiled even brighter as if it would weigh up for the pain. 

“Give it up for the Gear Girls!” The curtains pulled aside, and the music started. They had lost counts of how many times they had done the routine, but this time it felt special, in a bittersweet sort of way. Bertha and Rosie started of the song, singing “All night long, you are the one I miss, so when I will see you again, prepare for my kiss,” followed by a choreographed air kiss which drove the crowd crazy every time. They sounded good tonight, but a few songs in, Elsie noticed Margaret´s distant expression. When Bertha was doing her solo “Baby come home,” Elsie stood next to Margaret and tried to get her attention, but Margaret was just blankly looking over the crowd and into the dark forest behind them. This had happened for the first time in Calais when they performed at a military camp. When seeing the men's rounded helmets, it had reminded them of shells, bringing them right back into that ammunition factory. The girls had pushed down their emotions and smiled, only to vomit and struggle to breathe after the performance. They had done their duty to help with the war by working in Silvertown, but after the factory explosion they had lost limbs and during the rehabilitation period, the will to live. 

It was a scientific miracle that their prosthetics worked and wasn´t rejected by their bodies, but the aftermath was not only the pain of living, but also the struggle of how to actually make a living. It was Elsie´s idea to perform, as she had long dreamed of becoming an actress. The money was good, and every night before they went to sleep the girls went over what they would do when they got home. Bertha would study to become a teacher, Elsie would pursue acting, Rosie would open her own bakery and Margaret, well Margaret did not have a concrete answer to that question. She answered every night “be happy,” but never went to explain what this meant. Towards the end of Bertha´s solo, and Elsie still had not gotten any contact with Margaret, she whispered in her ear.

“He doesn´t know what happened to you, does he?” Elsie was half-expecting for Margaret to chop her head off, but there was an unfamiliar vulnerability in Margaret´s eyes that she did not recognize. The truth is that they all suffered from that explosion, but Margaret lost both her arms and legs. The white stockings and gloves made her look like an ordinary young woman, but beneath it all she was the one who had changed the most. 

Darling I am all alone, so baby come home, “applauds ruptured and Bertha took a bow. Margaret was the first to walk back on stage to continue with the next song, and the men became ecstatic that there was more to come. As the night went on, for the final act, Elsie stepped forward and did her usual thing, ensuring the audience that this would be a performance to remember. With a grand pose she finished singing the song “Stop Me” which the girls agreed was a crowd favorite. 

There is nothing, nothing, in the world that could stop me from loving you!” The men stood up, whistling and applauding, chanting their name and for a brief moment, the girls were in total bliss. They had done it; they had made it through the show. The girls swam in warm sounds of compliments and affection, but suddenly they drown in the sounds of terrified and agonizing screams. Chaos erupted as a bomb fell from the sky and shell fragments and dirt flew up on the stage. Jack ran over and tried to grab the girls and pull them away, but he couldn’t reach all of them. Alarms went off, men were screaming they were being attacked, and the ground rumbled as more bombs were dropped into the camp. Rosie covered her ears but the ringing wouldn’t stop. She ran off the stage but turned around at the faint sound of Margaret screaming “Joshua.” She saw her running towards him, but also the appearance of two civilian dressed men that appeared from the woods. Rosie called out Margaret´s name but another explosion threw her to the side, and the world went dark. 

 

*

 

“Where is my son? Where is Joshua?!” Captain Winford ran across the camp and looked at his men for any response. Jack was gently shaking Rosie to wake up, and Elsie was looking for the others. The smell of smoke covered the camp like a heavy fog that refused to dissipate. When taking a deep breath, Rosie woke up coughing and her eyes teared up, smudging her makeup. 

“Where is Margaret, is she gone?” Jack answered that Elsie was looking for her, but Rosie clumsily moved towards the spot where she last saw Margaret. 

“Joshua!” Captain Winford´s voice echoed in the camp´s ruins and amongst the injured. Rosie went over to the grass and saw a large puddle of oil. Following the drops, she saw that the oil became a trail into the woods, where on the ground there was a small note. 

“Is she awake? I couldn´t find Margaret,” Elsie and Bertha joined up with Jack and they saw Rosie turn around with tears in her eyes. 

“She is gone. They were taken, Joshua and Margaret were taken,” she held up a note with the scribbled words les aliments. Bertha took the note, “It´s food in French.” 

Rosie was about to ask what that meant but Captain Winford barged over and grabbed her by the shoulders. 

“What do you mean taken?!” Jack pushed off the captain and stood to shield Rosie. 

“During the attack, I saw two civilian dressed men appear from the woods. They approached Margaret and Joshua, and...” Rosie caught herself from mentioning the oil. She choked on her words knowing the implication of the spill, Margaret had been injured somehow. 

“... and they left this note,” finished Bertha, handing over the paper to the captain. A solider with a fresh wound on his cheek and a limping step approached them. 

“Sir, there is an abandoned village on the other side of the forest. Our scouting intel informed us that the village was empty, but a few civilians could have stayed behind,” Captain Winford turned around, and the veins in his forehead didn’t match his sudden calm tone. 

“Those bastard civilians know we won´t harm them, and they take advantage of us like this when we are attacked by the Germans. They are holding my son hostage for the promise of food. We will take care of our wounded and pack up tonight, seek cover and get some rest. It is too dangerous to move anywhere tonight. At dawn we will head to the village, and if possible, it might be a good temporary refuge. Could be nice to escape these tents for a while. Take care of the wounded, we will leave before dawn,” and with that, the wounded were carried away and the men started to organize their departure. Soon, they stood alone around the puddle of oil. Their pinned-up hair, now falling in soft waves, and their white stockings covered in dirt and blood. 

“We have to go and get her now, we can´t wait for dawn,” said Rosie. Elsie objected, reminding her of the captain´s orders but Bertha quieted her with a hand on her shoulder. 

“Margaret is a gold mine for them with her prosthetics, they can sell those off and make a lot of money. We can´t wait, “Rosie and Bertha looked at each other and nodded. 

“I´ll go and get my secret pastries and bread,” said Rosie, not listening to Jack´s objection. He sighed and looked at Elsie and Bertha.

“There is never a calm moment with you, is there?”

 

*

 

“Remind me of the plan again,” They had left the camp unseen and managed to follow the oil spill trail through the forest. The abandoned, small, and rustic village was located down the hill in a valley and looked peaceful in the moonlight. The journey had taken longer than they expected, and soon the troops would arrive at the village as the first light of day broke by the horizon, but judging by the oil trail, they could not have waited. 

“Go to the villagers, hand them this basket of food and ask them to give our friends back. That’s it,” As they reached the first houses, they signaled amongst themselves to be quiet. As silent as possible they stepped in overgrown flowerbeds to sneak alongside the house walls to avoid the gravel. A few voices were heard around the corner. 

Hast du ein Feuerzeug?”  a man said, followed by some rummaging sound as if someone was digging in a bag. Elsie sighed of relief and went to take the basket. 

“Finally, we have found them, “she began but was quickly pulled back and silenced by Bertha´s hand on her mouth. 

“That is not French, they are speaking German,” Bertha´s whisper was barely audible, but the point came across. They had walked into a trap.

“We need to get Margaret and Joshua out of here, and warn the soldiers,” Jack pointed to the ground where the small oil specks shimmered in the moonlight, indicating by their dispersed trail that Margaret had been taken to a place in the middle of the village. The girls nodded in response and they headed back the way they came. They dodged windows and gathered courage each time they ran between the houses. The trail led them to a basement door that luckily enough for them was unlocked. Jack quickly swung it open and without any hesitation they all went in. 

“Margaret?” Rosie´s whisper was interrupted by a grunting noise, and she lost all train of thought when Elsie pinched her arm. Despite the dusty and stuffed basement, there was the clear scent of oranges. There were large metal objects in the way and the darkness made it difficult to navigate a path to follow the scent. However, where the scent of oranges was drowned out by oil fumes, they found Margaret on the dirt floor, with no arms or legs. Rosie fell by her side, embracing her and ignoring the sticky oil that covered her. She saw Margaret´s destroyed prosthetics and a bullet wound in the legs oil pipes which explained the leakages. She had taken a bullet for Joshua. Jack found that Joshua was still wounded, but Bertha tied one of her gloves around his injury to prevent the minor bleeding. 

“He will be fine, “she stated, before heading over to Margaret. 

“You need to leave, take Joshua with you. They are going to blow this whole village up once the British gets here. They ruined their camp to force them to come here, it was all planned out.” Margaret´s voice was weak. Her lips were chapped and her hair was filled with leaves and dust. Elsie clasped her face. 

“We are not leaving you,” she began but Margaret shook her head. “You need to leave, warn the others. This is a trap, they want the troops to come here to a seemingly harmless village, but look around you, you need to escape,” Their eyes had gotten used to the darkness, but with the soft blue colour creeping in from the basement door, hinting at the sunrise, they saw that the metal objects they had bumped into and navigated in between were actually bombs. They were in a bomb storage. 

“Please take Joshua, please save him,” Jack placed Joshua´s arm around his shoulder and lifted him up, but Bertha had to help to steady him. 

“To save you we need to go now, before the sun rises and we will be spotted,” Jack looked at Margaret when he said this. “We will see you in the forest on the way to the base.” There was a determination in his voice, accompanied by reassurance, but as Bertha and Jack left, that feeling of hope went with them. 

“You need to leave me,” began Margaret but was interrupted by Elsie. 

“We are the Gear Girls; we have survived this bloody war and we are going to continue to do so!” Margaret wanted to touch Elsie´s face but she couldn’t. She couldn´t reassure her that it was okay, that she wasn´t sad about the outcome. 

“In my state, I will have no life after this. My body has been affected by this war; it belongs to it. Let me help prevent the prolonging of it, help me end it,” She nodded her head to a small object on the floor. A lighter that one of the Germans had dropped. Rosie shook her head, whispering the word no several times before Margaret said her name. 

“You ask me every night what I want to do when I come home. I always answer ´be happy´,” Elsie´s tears streamed down her face, leaving a mascara trail down her blushed cheeks. “You have become my happiness, and I say I will be happy because you will be home with me. Please let me be happy, go home and live your lives as the best Gear Girls you are,” Rosie gently touched Margaret´s face, and when she realized that it was light enough in the basement to see Margaret´s freckles and auburn hair, she knew the time was up. Rosie placed the lighter so that Margaret could light it using her teeth. 

“We will see you soon,” Rosie said while furiously wiping away her own tears. She grabbed Elsie and they ran out from the basement. The dawn was about to break the horizon and despite their heavy legs, they ran with all that they had left in them to reach the forest. The Germans started shouting and firing after them, but when they reached the hill, the world exploded. Rosie and Elsie landed in the grass and covered their heads. Rocks, bricks, and dirt flew up in the air and an immense heat covered the area. When the dust eventually settled, Bertha dragged them up the hill and they looked out over the valley. The soldiers arrived and were shocked to see the commotion. Captain Winford was reunited with his son and embraced Jack with all the gratitude that was left in the world.  

“What is going on?!” exclaimed the men, and the remaining Gear Girls stood silent, watching the horizon as the orange sun welcomed a new day. They were all drenched in oil and dirt, reeking of smoke, and sweat, but with the soft sunlight, they could still smell the warmest scent of oranges. 

Computer Generated Borough Group Paintings by Ella Chedburn by Theresa Kneppers

CREATING DATASET:

I gathered a dataset of 600 Borough Group paintings from Borough Road Collection archives, Tate, Art UK, and Google Images. I saved each image individually which facilitates higher quality outcomes (batch downloading would mean lower quality images and less control over what gets saved – would end up being photos of the artist or other random artists work etc mixed in).

FIRST TRAINING STAGE:

The original GAN was designed to create illustrations of birds, but I fed it my Borough Group paintings instead. After 3000 steps, the images weren’t really showing any particular subject and had a high FID score (which is bad – the lower the score, the closer the generated images are to the original images. A high score is not good – mine was around 120 and showing up red/bad), so I decided to train it for 2000 more steps. The FID score decreased a little but remained high.

Screenshot 2020-11-24 at 12.51.27.png

Since the Borough Group paintings contain differing subjects (some are landscapes, others are people, some are objects, or totally abstract) I think it is hard for the software to create figurative images. It works by looking for patterns, and the different subjects create different patterns. To avoid this, I’d have to create individual datasets for each subject (one for people, one for landscapes etc) but there’s not enough images for this (you need between 500-5000 images in each dataset).

After 3000 steps, here are 24 of the sample images:

Screenshot 2020-11-24 at 12.51.40.png

Figures look like they’re coming through. the one below in particular reminds me of several of the figures in my dataset, particularly ‘Standing Figure’ by Dorothy Mead. So I trained for longer to see if these figures would emerge fully.

Left: computer-generated, Right: Dorothy Mead

Left: computer-generated, Right: Dorothy Mead

SECOND TRAINING STAGE:

I did 2000 more steps, so at 5000 steps the sample images looked like this:

Screenshot 2020-11-24 at 12.52.27.png

At this point I generated 50 random full quality images. Impression of figures was no longer there in the ones I expected, although new figures did appear. I felt that there was no need to train further, as the figures seemed to get lost the more they’re trained.

EXPORTING IMAGES:

The software generates thousands and thousands of new images, so finding/saving the best ones can become a mammoth task! I can choose the level of truncation -- closer to 0 = less diverse but very realistic and 1 = more diverse but maybe deviating from the rest of the sample. I decided to go for truncation of around 0.8 to get a diverse range of pictures. Then I could scroll through the pictures in different directions to select individual favourites, or get the software to generate a random sample to remain objective.

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Screenshot 2020-11-24 at 12.53.04.png

CREATING A VIDEO:

I selected different images to merge together to create an interpolation video. I included abstract works, landscapes, and figures.

Screenshot 2020-11-24 at 12.53.18.png

Creating its own signature style of quadrangular structures:

Seemed to keep getting preoccupied with painting these grey blobs!

COMPARISONS:

Left: computer generated. ‘Oxen Ploughing – Spain’ by Dennis Creffield

Left: computer generated. ‘Oxen Ploughing – Spain’ by Dennis Creffield

Left: computer generated. Right: ‘Bent Figure’ by Edna Mann

Left: computer generated. Right: ‘Bent Figure’ by Edna Mann

Left: computer generated. Right: ‘Tregor and Tregoff, Cornwall’ by David Bomberg

Left: computer generated. Right: ‘Tregor and Tregoff, Cornwall’ by David Bomberg

Left: computer generated. ‘Oxen Ploughing – Spain’ by Dennis Creffield

Left: computer generated. ‘Oxen Ploughing – Spain’ by Dennis Creffield

Left: computer generated. Right: ‘Children's Swimming Pool, Friday Evening’ by Leon Kossoff

Left: computer generated. Right: ‘Children's Swimming Pool, Friday Evening’ by Leon Kossoff

Left: computer generated. Right: ‘From Willesden Green, Autumn’ by Leon Kossoff

Left: computer generated. Right: ‘From Willesden Green, Autumn’ by Leon Kossoff

Left: computer generated. Right: Standing Nude by Dennis Creffield

Left: computer generated. Right: Standing Nude by Dennis Creffield

Left: computer generated. Right: ‘Seated Nude’ by Dennis Creffield

PROCESSING AND INPUT:

These are computer generated Borough Group paintings created by artist Ella Chedburn (@ellachedburn.art). Bomberg famously said he hoped his students would find the "spirit in the mass". By using machine learning software to generate paintings from a dataset of over 600 Borough Group images, perhaps the “spirit in the mass” has been found?

The generated artworks are primarily abstract with some landscapes and impressions of figures coming through. The software’s loosely painted nudes and linear abstract compositions could be lost Dennis Creffield paintings, while certain landscapes are eerily close to Bomberg’s hills and mountains. Although many images have a convincing texture of thick layered paint, several expose their computerised nature with their smoothness. However, the overall aesthetic could successfully pass as a member of the Borough Group: loose angular brushstrokes and mostly desaturated tones with occasional shots of bold warm pigment. Just like a true artist, the software has even begun to create its own signature style of large cross-hatched structures and mysterious dark grey blobs.

Do you think A.I. could be the Borough Group’s newest member?

ARTIST BIO

Ella Chedburn is a Fine Art (BA Hons) graduate from Kingston School of Art. Her practice squeezes nature through a digital lens: scanning trees, coding virtual reality forests, wiring plants to Arduinos, and projecting into woodland. She playfully misuses technology, encouraging glitches to run throughout her digital work and mimicking them in her prints and books. Over the past year, misinformation and context-twisting has been a particular driving force; sparking the creation of her dreamy algorithmic narratives, mystical inventions, and fictional documentaries blending science with folklore. Most recently, she has been creating computer-generated paintings for the Borough Road Collection and William Morris Society, questioning whether ‘the artist’ can be found within the machine.

Interpretation of the Meaning a new work by Sara Choudhrey by Theresa Kneppers

Interpretation of the Meaning, Sara Choudhrey

Watch the full piece here.

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Layering, displacement, and motion are key elements explored in Interpretation of the Meaning, an animation produced in response to the early work of David Bomberg and his contemporaries engaged with the Vorticist and Furturist movements. It is a consideration of alternative ways of looking, of materiality, technological advancement and our perceptions of time and continuity.

David Bomberg is often portrayed as someone who was in lifelong search, in contemplation of a truth and seeking a sense of belonging. His work produced in response to time in the Middle East, and Toledo in Spain also resonated with me. There is also his diaspora identity whilst living in London, and his having travelled to locations significant to Islamic history, including Jerusalem. Of course, the contentious situation in this region has evolved greatly, and with a change and movement of time, one wonders what the futurists may have made of the world in which their works are viewed now.

The title of the piece:

There is also a strong theme of spiritual and religious heritage in the work, and is conveyed through the title ‘Interpretation of the Meaning’, a phrase that is used for explaining and translating sacred text, often from one language to another. It implies that in the process of translating, there is a limitation in portraying the original intended meaning. Those who are multi-lingual will appreciate this, where there may not always be an equivalent phrase or word to describe the extent and essence of the original, however, in using the phrase ‘interpretation of the meaning’ there is an implied acknowledgement and value for authenticity. The play on words continues in the notion of artistic movements, movement as portrayed in the audio, in the animation format, with its own timeline and the movement of the geometric forms.

The audio:

The audio for this artwork uses the sounds of various clocks ticking in and out of sync, with additional chimes and sounds of timepieces and machinery. They are as abstracted as the sense of the space that is being explored in this virtual and unknown landscape. The viewers movement and that of the geometric shapes is an investigation of what we perceive of as our surroundings and how a space is to us as we are to it. The sound is heavily influenced by my current surroundings at home, where my father, a horologist, has set up many clocks in the midst of repairs. They have not all been set up with the same times. The correction of the time shown on the clock face is almost arbitrary. These clocks embody their own timelines, speak of having their place somewhere, belonging to someone and therefore being of material significance. They act as both props and reminders of the passing of time.

The geometry:

The animation presents what is known as an Islamic geometric pattern. It is an expanded design from an in-laid panel from the early 16th Century Al Ghuri complex in Cairo, Egypt. I chose this pattern as I found the formation of shapes and structure intriguing. It is not common to find pentagons on a 6-fold composition yet upon analysis there appear to be hidden correlations in the structure of the design that allows the 5-sided shapes to become apparent through divisions in a 6-fold layout. The geometers from this period and region would have cleverly discovered these hidden properties but did not leave many clues behind regarding their construction methods, and so there is a further connection to the idea of interpretation here. It is only through deconstructing and analysing which allows for possibilities in reconstruction of the pattern, an aspect of my practice which I wrack my brain over but also thoroughly enjoy.

My interest in the Vorticist movement:

I am in awe of artists who were inspired and exposed to cubism and the style that developed into Futurism and Vorticism. There is an abstracted conveyance of the world through this style yet it is not entirely unidentifiable through the sliced forms. The style also lends itself to an acknowledgement of the geometry present in our habitat, whether spaces of nature or those which are constantly manipulated by humankind. I feel the success of the movement centred on a strong understanding and contemplation of the way we engage with spaces through movement and also our understanding of spaces centred on a perception of light.

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Still from Interpretation of the Meaning, Sara Choudhrey, 2020

Why Did Dorothy Mead Experience Less Success Than Her Male British Modern Contemporaries? by Theresa Kneppers

Why Did Dorothy Mead Experience Less Success Than Her Male British Modern Contemporaries?

by Alice Mcleod-Bishop

Dorothy Mead was a loyal student to Bomberg and championed his work and methods even when the wider British art community was staunchly against Bomberg’s teaching methods and philosophy, leading to Mead being asked to leave the Slade before completing her studies there. It is difficult to know why the art-world failed to appreciate Bomberg’s works despite his students and friends being able to recognise his skills: perhaps they found his teaching style too unorthodox or were threatened by his approach and philosophy. Whatever the reasoning, the establishment was against Bomberg and the Borough Group as a result, which arguably hindered the flourishing of the group-members’ careers as galleries refused to exhibit their work. 


According to Borough Group founding member Cliff Holden, some of those who were in close contact with Bomberg made a mockery of his practice, by recreating (arguably, cheapening) Bomberg’s stylistic affects. One of these individuals is world renowned artist Frank Auerbach, who was an avid student of Bomberg’s from 1947-1953 and the most successful of Bomberg’s students. Auerbach did not join the Borough Group or Bottega during their existence as it seems he intended to not be as closely associated with Bomberg and his followers. It is quite clear when examining Auerbach’s work how heavily he was influenced by Bomberg, especially when you compare Auerbach’s paintings with Mead’s, who was proud to be Bomberg’s student. 

(left: Mead, Reclining Figure, 1954; right: Auerbach, E.O.W Nude, 1954)

(left: Mead, Reclining Figure, 1954; right: Auerbach, E.O.W Nude, 1954)

(left: Mead, Self Portrait, 1960; right: Auerbach, Julia, 1992)

(left: Mead, Self Portrait, 1960; right: Auerbach, Julia, 1992)

(left: Mead, Industrial Landscape, Evening, 1947; right, Auerbach, Building Site Earl’s Court Road: Winter (Replica), 1955)

(left: Mead, Industrial Landscape, Evening, 1947; right, Auerbach, Building Site Earl’s Court Road: Winter (Replica), 1955)

Auerbach’s style does differ from Mead’s – for example he depicts less form and uses thicker or more paint – but the Bombergian influences in both their work is clear on examining some of Bomberg’s paintings in the Borough Road Gallery’s collection. So why did Mead find little success where Auerbach found fame and fortune? It is certain that Auerbach’s distancing from Bomberg and the groups associated to him allowed for his career to flourish since critics, galleries, buyers, and others were unbiased regarding his art since they generally held a strong dislike toward Bomberg. Those who were part of the Borough Group and the Bottega failed to break through because Bomberg’s methods and philosophy were misunderstood, explaining how Auerbach, who had similar stylistic techniques and subjects in his paintings compared to Mead, was so successful despite being taught by Bomberg. 

It can also be inferred that Mead’s gender had a great deal to do with her career not finding the success it had the potential to. Female artists have had the odds stacked against them for as long as society itself has been patriarchal. Until recently, non-male artists were rarely commissioned to make work, and ratio of male to female artists in galleries always shows there are more male artists being exhibited, sold and critiqued. The men who were influenced by Bomberg and were closely aligned to him, such as Holden, still found more success than their female counterparts. And the men who were influenced by Bomberg and distanced themselves from his philosophy, such as Auerbach, found even greater success. Considering that Auerbach was three years younger than Mead, they were certainly contemporaries and so the comparison between their works is relevant, highlighting the distinct differences between their careers. If Mead had distanced herself from Bomberg and continued to study at the Slade, as Auerbach did, she might have been a considerably more well-known and successful artist; and yet, maybe her allegiance to Bomberg and her respect for his teachings made her the artist she became. 

The Spirit in the Mass in Dorothy Mead’s Paintings by Theresa Kneppers

by Alice Mcleod-Bishop

Dorothy Mead (1928-1975) joined the Borough Group in 1946 as an original member of the group which was dedicated to portraying David Bomberg’s (1890-1957) Modernist teaching methods and his philosophy known as the Spirit in the Mass, until the group’s dissolution in 1951. The notion of Spirit in the Mass was primarily about the connection between art and wider life, where he aimed to capture someone as they are in the world rather than as a subject. He understood the ‘self’ as a conditional relationship in consideration of its surroundings, taking into account the artist’s perception of the subject, as well as the phenomenology (the experience of experiencing something) of the subject – to capture what it is like for the sitter, landscape, cityscape etc., to be and exist as itself rather than solely the artist’s depiction of what it might look like at face-value. The idea of mass specifically relates to the synthesis of thought and feeling: the artist must assume ignorance about the subject whilst not being ignorant, and show the world as we see it, as uncertainty. Bomberg believed that modernist drawing is seen “as a deliberate distortion of optical truth”[i], and thus one must be classically trained if aiming to distort; yet if the artist is concerned with how things ‘feel’, then what they draw will naturally be a subjective and therefore distorted view of reality. 

This is what drove Bomberg to teach his anti-establishment methods, which in turn meant he was met with distaste and disapproval from the contemporary art community and was not recognised as a legitimate teacher. His views were widely misunderstood due to the lack of clarity surrounding his ideas and the somewhat confusing way in which they are worded in the Bomberg Papers. Contemporary critics and teachers failed to ascertain what Bomberg’s philosophy entailed, and to this day his teachings are confused by many[ii]. It is highly difficult to truly grasp exactly what Bomberg aimed to portray in his classes and what is the Spirit in the Mass; it seems that only those who were his students managed to understand Bomberg’s revolutionary methods and accurately capture what Bomberg perceived to be the Spirit in the Mass. 

Mead portraits.jpg


One of these students was Dorothy Mead, who was especially dedicated to Bomberg’s methods and was forced to leave the Slade art school because of her allegiance to the British Modernist artist. Bomberg’s influence on Mead is evident in her paintings, particularly her depictions of bodies, figures and landscapes: stylistically, Mead’s work is reminiscent of Bomberg’s post-war paintings, using thick expressive brush strokes and dark colours to portray a sense of the subject and its essence, an idea that was integral to Bomberg’s philosophy. It is difficult to delineate precisely how far Mead was able to capture the Spirit of her subjects, since we cannot know in detail her relationship with what and who she painted, nor how far she allowed her subjectivity to distort her reality. One can assume with some confidence however that she aimed to exact the Spirit of her subjects through her use of colour and the presentation of form in her works. In her 1955 work Portrait[iii]  (left)she uses bold yellow and blue brush strokes over a dark red and brown background to create the suggestion of an anonymous sitter. Compared to her undated self-portrait titled Self-Portrait[iv](right), it is clear she perceived herself quite differently to her sitter in Portrait. The use of duller colours and more succinct brush strokes in Self-Portrait might suggest she had a less-than passionate view of herself, while the vibrant, even violent feel to Portrait implies a potentially tumultuous or impassioned view of her unnamed sitter. This short comparison highlights how Mead attempted to portray her perception of her subjects and thus how she interpreted Bomberg’s philosophy of the Spirit in the Mass; the different stylistic techniques in her depiction of herself compared to that of her subject is evidence of an attempt to capture the essence and phenomenology of the individual.


[i][i] Roy Oxlade, Bomberg Papers: The Spirit in the Mass, a commentary, together with transcriptions of various previously unpublished notes, p. XIV (introduction), Royal College of Art, 1980

[ii] Cliff Holden, Bomberg’s Teaching – Some Misconceptions, p.3, 2004, Cliff Holden

[iii] Dorothy Mead, Portrait, 1955, Borough Road Gallery Archive

[iv] Dorothy Mead, Self-Portrait, (undated), Borough Road Gallery Archive

David Bomberg’s niece, Cecily Bomberg in conversation with Nicola Baird, PhD candidate, by Theresa Kneppers

David Bomberg’s niece, Cecily Bomberg in conversation with Nicola Baird, PhD candidate, LSBU:

NB: I wondered if you could explain how you relate to David Bomberg?

CB: My father, John was the baby of the Bomberg family, my mother, Olive was 12 years his junior, an Irish Catholic girl. David was my uncle and he was very keen on my mother because she turned my father around and put him on the straight and narrow- he adored her. David had been 22 when his mother died, he was already launched and she’d done everything for him but my father was 7 so you can imagine and then the others were all older and grown up so you can imagine what he went through….

NB: What are your memories of David Bomberg?

CB: What are my memories? His personality and little things about him are really what I know, mostly of course because I was only 15 when I last saw him, that’s how old I was and so mostly of course it is childhood memories. My first memory of him was in a camp in Wales at the end of the war, we were sent there, I think, because of some very late bombing. My mother had us in a hotel and every day we’d go into the fields to visit my uncle and aunty Lilian and Diana who were staying in a tent there, I remember I hated going there because he might have been a bit moody, I don’t know. She loved animals, but he hated them, he thought they should all be of purpose, I had a pet dog, my first dog, Nuala and what he did was he took her into the sea with him to bathe, cleanliness was a big thing with him, he used to even wash his suits in the sea, he took her into the sea and she was the soap holder, he put carbolic soap in her mouth! I remember him in the camp there, I’ve always had a word difficulty, I was a little dyslexic, and he obviously was in a mood but he liked joking, so one day he said to me, I was about 5, go into the farm and get the letters, and of course I brought him back a head of lettuce, so every time I would go there to visit he said where’s Cecily, Cecily I need my letters, and I would come back with the head of lettuce and they would all laugh at me. The next really strong memory I have of him is that whenever he came to visit us and my parents would ask, Cecily, do you want to ask Uncle David something? And then I had something that I had wanted to ask someone, you know anyone, and they would say ask Uncle David like he was the great sayer, is that how you say it? It’s like he was the oracle or something, now that is my real strong memory of him, and I would have been about 8 or 9 maybe. To me he spoke like a foreigner, he spoke slowly and methodically and every word was weighed, he would be thinking and carefully weighing but by the time he had finished I couldn’t remember what I’d asked! He liked me as a child because I was quiet, I wasn’t a running around child and he thought, that I should be put to music, there was something sad about me and that I needed solace and that the violin would be a good thing for me. Somebody told me that he actually purchased the violin, but I don’t think he ever had that much money. I wish I had known him as an adult, I wish I had been old enough to respond as a young woman as my mother had to him, to really learn from him and to see what a fine person he was, but I’m afraid I was just a little child and I thought of him as a vagabond of sorts coming and going, sometimes he wore a dressing gown at least I can remember him in a dressing gown and bandana, I think I saw him out once in a dressing gown.

NB: Which are your favourite works by David Bomberg?

CB: I think some of the portraits are marvellous; yes I like them a lot. For some reason I love the Cyprus paintings, they do something to me, of course the Spanish paintings, how could I not? And I do love some of the Palestinian paintings, the Church of the Armenians, the beautiful blue church in Jerusalem- some beautiful works. I love the Petra and I think the Cornish, that lovely painting of Cornwall and Devon, I see them all as I’m saying them now there’s so many, I think I prefer them all to the ones my family had. I wish he had done more portraits, the one that you and I met in front of, I really thought a lot of that portrait, and then there’s this other one, of a man who’s a great friend of his, I think that’s in the Ben Uri Gallery collection [John Rodker] , Jimmy Rodker, what David used to call, ‘my blood brother’, this is all my mother telling me, they were great friends and I love that picture….but I do wish he had done more portraits, I love Kitty’s portrait. I love the Ghetto Theatre and things like that, I’ve been very impressed with the Ben Uri, very impressed with what I’ve seen there, some beautiful paintings, and one of them which strikes me as quite strange is the racing picture, the race, that was an extraordinary picture, that was done in about 1912 I think, and just to see the composition, I mean, when you keep looking at it, it does something to you, I very much go in for the Ghetto and all of his pictures.

A Casa with a View: Notes on a Bomberg Inspired ‘Pilgrimage’ to Ronda, August 2017 by Theresa Kneppers

Introduction: Nicola Baird is PhD candidate in the School of Arts and Creative Industries at London South Bank University and a member of the Centre for the Study of the Networked Image (CSNI). Hers is a collaborative project between London South Bank University’s Borough Road Gallery and the Ben Uri Gallery: Art, Identity, Migration.

A Casa with a View: Notes on a Bomberg Inspired ‘Pilgrimage’ to Ronda, August 2017-

 I painted this picture from a mountain ledge three miles from Ronda across the valley, which point is the most perfect for a view of the city on its great rock. Leaving my house above, I would sometimes wind my way down the old Moorish path of the edge of the ravine and cross the cultivated valley, climbing up again through the olive groves on the slopes of the opposite ledge, on the afternoons of brilliant Andalucian spring days. Then I would forget everything but the ancient city on its glowing rock until the chill of the mountain shadow touched me- the sun had gone- Ronda was in afterglow and I was packing up to go home. This time, too dangerous to climb down the rocky sharp in the dark, I would prefer to share the roadway home with the peasants and their goats; all of us making for the warmth of the brazier fires of Ronda.

- David Bomberg

I arrived in Ronda, in the Spanish province of Malaga, on the evening of what had been a brilliant Andalusian summer day. Perched on an inland plateau riven by the 100 metre fissure of the El Tajo gorge, Ronda is Malaga province’s most spectacular city. Divided in two by the Guadalevin River it owes its name (‘surrounded’ by mountains), to the encircling Serrania de Ronda. Ronda was a favourite with the Romantics of the late 19th century and has attracted an array of international artists and writers including David Wilkie, Alexandre Dumas, Rainer Maria Rilke, Ernest Hemingway, Orson Welles and David Bomberg. Bomberg came to Ronda via Cuenca with his wife Lilian in May 1934 and stayed until civic unrest forced them to leave Spain in November of the following year. The site of the Bombergs’ first home in Ronda is now marked with a blue plaque which was presented in 2004 to coincide with an exhibition of the artist’s work at the Museo Joaquin Peinado. Bomberg was not to return to Ronda until 1954 when he tried, and failed, to set up a school of painting at Villa Paz, the house he rented next to the medieval Palacio de Mondragon. Advertisements were printed and letters sent out to many of his former students but the owner of the house evicted them before even the first class had taken place. Though Bomberg gave up on the idea of the school he found some consolation in being consequently offered a ruinous property to rent on a pine-lined ridge commanding views in one direction of the massive Puente Nuevo and in the other of the picturesque Serrania de Ronda. La Casa de la Virgen de la Cabeza, is, it transpires, still owned by the same prominent Ronda family today. The only other house on the ridge was taken by former pupils Miles and Susanna Richmond. The plaque, the Villa Paz (as well as the Church of La Paz) and La Casa de la Virgen de la Cabeza were therefore key places to visit along with sites from which it is known Bomberg painted/drew, such as the Plaza de toros de Ronda, Spain’s oldest bullring, the Church of Santa Maria la Mayor in the Plaza Duqesa de Parcent, the Arab baths, which can be found below the city and date back to the 13th and 14th centuries and the roof of a former hospital in the new town. As the old hospital was not far from where I was staying, this was my first port of call. Obviously I was not able to get up onto the roof of the building but I was able to appreciate its height and the view from the end of the road across the old city. Next I visited the Plaza de toros, built in 1784 in the neoclassical style by the architect Jose Martin de Aldehuela, who also designed the mighty Puente Nuevo, linking the old and the new parts of the city. It is thought that Bomberg’s last work, completed one moonlit night in the company of Miles Richmond, was of the bullring’s main gate near eclipsed by the casting of a sinister black shadow. Then it was on to the Church of Santa Maria la Mayor originally built in the 14th century as a mosque and transformed into a cathedral in the years following the Christian conquest of 1485. Sadly it was demolished in an earthquake in 1580 and the church which stands in its place today is an incomplete replacement, though still very impressive inside and out. The plaque and the Villa Paz, also in the old town and being fairly close together, were next on my list. I was unable to gain entry to the Villa Paz, now a bar, when I visited but walked right up to the main door and photographed through a side gate and from the restaurant next door I was able to photograph the Villa’s front (gorge) facing façade and small garden/outside space. It was amazing to be there and I was able to really get a sense of the artist’s presence. Emerging back onto the main road in the old town I carried on down the hill towards the Arab baths which were beautifully in-tact and well maintained. From there I was able to appreciate an alternative view of Ronda one which Bomberg would have witnessed. The following day I met up with Miles and Susanna Richmond’s daughter Georgina who grew up in Ronda (and was three when Bomberg died) and for the last fourteen years has been living permanently in the beautifully bohemian feeling house her parents bought in 1960s just outside the city. We had lunch together with her husband David, who is also a painter, before driving round to La Casa de la Virgen de la Cabeza, Bomberg’s last home in Ronda and where he spent the last three years of his life. Experiencing the almost comically obstinate isolation of this slightly ramshackle, dwarfish looking house hunched beneath a large and imposing tree was a peculiarly evocative moment in which I felt I sensed something of the artist’s presence in the air. Although we were unable to enter the house we were able to view it from the top of a short driveway and to appreciate the geological drama of the landscape as well as the spectacular views of the Puente Nuevo, towering 120 metres above the canyon floor, and the El Tajo gorge which its unique position affords. Georgina told me that Bomberg and Miles would have painted at various points along the entirety of the ridge, something which would now be impossible as the owner of valley land abutting has illegally erected a metal fence preventing right of way. The fence, which jars with the timelessness of the landscape and tampers with the ridge’s at once lost and liberated quality is, according to Georgina, a sign, amongst others, that things in Ronda are changing, planning permission has been granted for a large luxury hotel in the valley and a developer has bought the 1920s folly on the rocky road between the ridge and Ronda proper from which Bomberg and Miles would also have painted. This just left the views of the Puente Nuevo which could only be authentically experienced by walking down into the gorge from steps in the corner of the Plaza Auxiladora. Later that evening, as the temperature cooled slightly, we began walking, stopping at a viewpoint, the remains of an old house, to take pictures, before taking a different path along and underneath the bridge in order to appreciate its awe-inspiring height and mass. The next day was spent walking around both the old and the new parts of the city, revisiting previous sites and admiring the incredible views of the gorge from the Puente Nuevo as well as climbing down into it from the other side via the Moorish La Minathe so-called Water Mine (accessed from the gardens of the Casa del Ray Moro). The following morning I took a bus from Ronda to Malaga where I spent my last day and night. Serendipitously there was a temporary ‘School of London’ exhibition on at the Picasso Museum which included four paintings by Bomberg, all from the Tate’s collection, but which I had never seen in the flesh as so few example of his work are ever on display at any one time. Perhaps predictably I came away both from the Picasso Museum and from Spain feeling curiously and in a perhaps predictably romantic way somehow better able to understand and to appreciate the nature of Bomberg’s experiments/achievements in Ronda, the epic transition in each case from quest to conquest, or otherwise, as well as the courage, determination and mental fortification involved in continuing to paint, to draw, to prove with each taking up of the brush his own sense of self-worth. And now when I look at the work he did in Ronda, having experienced the majesty and the drama of those vistas for myself, I am overwhelmed by a misty-eyed mirage of Bomberg the conquerer, Bomberg the great and am unable to prevent ringing in my ears the artist’s oft-quoted incantation: ‘seek the spirit in the mass’.

 

This trip was made possible by Queenswood School’s Ruth Moon Award for which I am very grateful.

Johanna Bolton: An archive of made decisions by Theresa Kneppers

Contemporary artist Johanna Bolton is currently doing a residency at the Borough Road Gallery art store. You can follow her as she researches and develops a project for the gallery this fall. 

Bomberg wrote that ‘the virility of drawing lies in the immediate necessity to make decisions- with it departs the fears and the funk...’ 

I think this quality is very much evident in the decisive fast impasto lines in the art of the Borough Group.

Bomberg also wrote “I approach drawing solely for structure” - I will try the same but from the other side, as a sculptor looking for the instruction for structure in the drawings. 

This week I am buying armature wire and working at drawing out those structural lines into 3-dimensions again. 

Johanna Bolton Artist Residency at Borough Road