I have designed a website imogenclements.com. There you go. Was going to kick this off with some fabulous intro/backdrop about the whys and wherefores behind my absence from this blog - forgive me rhubarb, it's been at least two months since my last confession - but I couldn't think of how best to without sounding ludicrous, so thought I'd just cut to the grain.
Truth is I lost my rhythm, got the bloc, felt uninspired to write and inspired instead to stare into space, flick aimlessly through magazines, stir coffee, pick at face and nails, gaze at naval etc. Then, just as the rot was beginning to set in, I pulled myself together, turned to my art - abstract, large-scale canvases incorporating sublime colours that will work in any tastefully-decorated home, indeed indeed - and decided to go public with it. Well, those that have seen it seem to like it, so it seemed a good idea to broaden the audience.
And so, to mark my launch into cyberspace astride my very own vessel I felt compelled to break the heinous bloc and blog. Plus, what better place? Am writing this in the cafe at The Tate, St Ives, the birthplace and home to many an artist - traditional and contemporary.
There are aesthetic artists and cerebral artists and many of course who cross the divide. Barbara Hepworth I see as aesthetic, whose beautiful curved rounds and hollows provide endless visual pleasure; Patrick Heron's kaleidoscopic Horizontal Stripes is stunning, and stirring, to look at. Rothko same, Pollock same. There is no need for raison d'être, meaning, supposed depiction or explanation. You look at it and are enveloped by it, what you see before you triggering a charged switchboard of right-brain synapses and receptors that we only vaguely understand. Simon Fujiwara's art, here at the Tate now is, on the other hand, very much, cerebral. There isn't much of a visual aesthetic in his own creations, more a reliance on other people's to derive his own autobiographical perspective, a reflection on his recollections that you can reflect on etc.
My own art falls into the wholly-aesthetic category. There is no statement, cryptic meaning, confessional or bizarre incongruous title. I paint simple works that look beautiful on a blank wall. If it's art schpeak you're after there's a certain 'fluidity' to them, plus a therapeutic quality that's down to the rich colour palette I use.
Where I go against the grain (and this, doubtless, is something those art purists will shudder at) is that my work is practical by design. Within an abstract theme, I will paint large works on commission using colours specified by the client that are in line with their decor, colour scheme, upholstery, wishes. I can do this because my work uses colours from Farrow and Ball, one of the UK's most highly regarded interiors paint manufacturers.
My paintings are, in effect, interiors pieces created for interiors. It may be a novelty, and offend the art world to create works that coordinate, but, at the end of the day, it's a beautiful piece most people are after. And one that doesn't clash with the furniture.