Nicholas De Lacy-Brown | The Daily Norm

Oct 3

Printmaking Progress III – Editioning El Marinero

Readers of The Daily Norm may remember that in that optimistic time of Spring, long long ago, I discovered the art of printmaking. Having been inspired to give the medium a go by masters of the craft such as Lucian Freud and the ever dark-minded Spanish great Francisco de Goya, and having dappled at first in a little lino cutting, I very soon fell in love with etching, the technique by which acid is used to “etch” an image into a metal plate, which can then be used to print a whole run of that image (albeit seen back to front – something for which careful planning is required). You’ll be forgiven for thinking that my newfound love of the technique was short lived – after all, I haven’t posted any etchings since May, and have, quite unapologetically, become obsessed with gouache paint on paper which I have pursued relentlessly in the creation of my “Compositions” series.

Well, come the autumn, and with my summer travels, sadly, long behind me, I decided the time was right to re-enter the printmaking studio, not just to start projects afresh, but to finish off the ones I started all those months ago.

I have previously told you about etching the line image onto the metal plate (I used zinc, but other metals can be used and this will affect the number of prints which can eventually be made from the plate), and also about the aquatint process by which tone is added to the plate. The final stage of printmaking is printing and editioning – making sure that every single print is printed identically, so that a closed “edition” can be made, and sold through the aid of a single exhibited example.

The zinc plate with image etched into it

First print – before the aquatint was applied

El Marinero during the aquatinting process

Editioning is an intricate and time consuming process. You have to cut yourself paper of an identical size; bathe it in water to ensure the paper takes the ink, but dry it before printing to ensure the ink does not run. You have to smear the plate in filthy oil-based ink, and then gradually wipe it off again, leaving the ink remaining only in the lines. You have to clean the edge of the plate to ensure that the embossment of the paper around the plate is kept pristine. And finally, ensuring you do not dirty your paper with your inky-black hands, you have to run the plate, and the paper through the printing press. All this takes about 15 minutes per print, but once you get a system going, it’s surprising how easily the human body can become like a factory process.

I have now spent several sessions in the studio, making editions of the two zinc etchings I made back in May, and the result I want to share with you today is my first ever plate. When you last saw it, it was a line image only, with no aqua tint adding tone. Now the image is aquatinted and complete, printed as a limited edition set of 15 which, by coincidence, are now available on my online shop to buy.

The finished print

The print, entitled “El Marinero” shows a sailor Norm holding a fish on a mysterious Mallorcan rocky beach. It’s an enigmatic image, with its empty shores and strange rocky forms, but one which I cherish as being my first dalliance into the world of etching, and inspired by the surreally-shaped coves of Mallorca’s stunning coastline. Now I am on my third and fourth etchings respectively (one in zinc, and one in copper) and I cannot wait to complete those and share them on The Daily Norm.

Details of how to purchase your own strictly limited print of El Marinero can be found on my Etsy shop. As a closed edition of 15, it’s an extremely limited set, and hopefully therefore an attractive art investment for your future, as well as a pleasing little gift for another, or of course, for yourself.

Oct 2

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Norm’s Autumn Banoffee at Palau March

As the green leaves of summer turn gradually to shades of auburn and brown, it’s time again to reflect on that sunny island of Mallorca, where the higher temperatures of summer live on, and the sun’s midday warmth embraces all locals and visitors alike with its life-enhancing optimism. But even Mallorca and the Mediterranean is not immune from the seasonal momentum of the planetary system, and as evenings draw in before winter descends, and the sunlight hours diminish, the locals and Norms of Mallorca’s capital Palma look to the cosier pursuits in life.

And can there be anything cosier in the emerging autumn than a late afternoon tea, with a slice of Cappuccino Grand Café’s classic banoffee pie, consumed while sitting on the comfy sofas of the Palau March café under the colonnades ofthis elegant city palace? This little Norm certainly does not think so, and indulging in the very height of afternoon delight, he sips upon his coffee and digs into his oozing caramel-filled banana and cream tart with a gusto which is more than justified when exposed to such an exquisite dessert. His little heart beating to the sumptuous sounds of Cappuccino’s jazzy sound track, and his eyes otherwise entertained by the unbeatable views of Palma’s historic centre beyond the colonnades, this Norm is all set up for an autumn afternoon of insurmountable delight, and is frankly the envy of all of us who can not be there with him.

Norm at Cappuccino Palau March (2013 © Nicholas de Lacy-Brown, acrylic on canvas)

My little Norm painting is acrylic on canvas and currently hangs, so I gather, in the stunning Ibiza Botafoch café of the Grupo Cappuccino. Now that’s got to be a double whammy for this little Norm.

Check out more Norm paintings in the new Norm galleries of my (almost) completed new website.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

Mallorca Map Commission Part 1 – Mallorca and Ibiza (daily-norm.com)
Mallorca Map Commission Part 2 – Palma (daily-norm.com)
Norm cocktail in the Port of Andratx (daily-norm.com)

Sep 26

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Norm cocktail in the Port of Andratx

It’s been a bit quiet on The Daily Norm front this week, as behind the scenes, the Norms and I are scurrying around working hard to redesign and develop my art website which, when it is finished, should provide the perfect partner to this blog, acting as a permanent platform to show my artwork to the world. So while the hard work continues in the offices of The Daily Norm, and as the chillier autumn evenings start to draw in, its surely time to pay one of our Norm friends a visit, over in the warmer climes of the Mediterranean, where the summer extends, that much longer, into the darkening autumn days.

Norm at Puerto Andratx (2013 © Nicholas de Lacy-Brown, acrylic on canvas)

To the island of Mallorca, and onto the stunning little Puerto Andratx, a naturally enclosed semi-circular marina, flanked on all sides by steep green hills leaving only a slight cerulean slice of horizon visible. In this idyllic little port, where fishermen still cast out their nets and store their fishing paraphernalia on the dock side, and where little cafes and restaurants are lined along the still lapping waters and cobbled harbour walls, the persistently chic Cappuccino Grand Café has acquired itself the nicest spot of all, directly next to a little harbour arm, where old wooden boats bob up and down, and the omnipresent sunshine sparkles like a discotheque over the surface of the water.

There, on rocking chairs set out alongside the sea, this hedonistic Norm is soaking in the ultimate pleasures which this cafe paradise can provide: a lavish location, melodic jazzy music, warm midday sun, and a cocktail in her one, well manicured hand.

Now this is surely the way to spend an autumn day.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

Mallorca Map Commission Part 1 – Mallorca and Ibiza (daily-norm.com)

Sep 20

8 Comments

Composition No. 10 – Cupolas of Kraków

Almost every town or city across the world will have some place of worship at the centre of its community. Very often, a church, a synagogue or a mosque will dominate the town, both in spiritual significance, but also in architectural superiority. In the average Spanish city for example, elaborate bell towers will loom large over the deferential terracotta roof tops of the town below, while even in the highly developed city of London, the globally recognised icon of St Paul’s Cathedral remains at the heart of London’s cityscape horizon. Yet in Kraków, the stunning Polish city with a sprawling, unspoilt historical old town at its heart, you are literally spoilt for choice, such is the array of spiritual icons bursting up all over the city.

While the breathtaking gold-tipped spires of the regal Mariacki church at the centre of the Rynek Główny square and the copper-sculpted embellishments of the Wawel Cathedral are obvious contenders as the city’s spiritual matriarchs, there are so many churches complete with their own flourish of architectural exuberance cropping up all over the city and in between, that the visitor feels almost overwhelmed, literally like a child in a sweet shop full of glistening boiled sweets and sugar-covered jellies. In fact with its turrets and towers, its copper cupolas and its wrought iron domes, Kraków takes decoration to new levels of baroque opulence. Its bell towers are so ornate as to be like multi-tiered wedding cakes iced up with sugar statues of saints, and finished with gold beading and sparkling with jewels; and the use of copper is so prominent in its oxidised green, that for as far as the eye can see, the skyline is splattered by turquoise aqua marines.

Composition No. 10 – Cupolas of Krakow (2013 © Nicholas de Lacy-Brown, gouache on paper)

All of this just had to form the basis of the next painting in my “Compositions” series, having already decided that I must surely devote a piece to my time in Kraków. But as far as my gouache paintings go, this one is by far the most complicated. For not only did I want to pack into my Kraków skyline almost every cupola and rooftop which I had so admired in the city (and there are plenty), but I also wanted to follow the theme of my compositions by exploring overlapping objects and cubist interpretations. The result was a piece so complex that in terms of duration, I could probably have completed all 9 of my previous compositions in the time it took to do this one. But with a result so satisfyingly abundant with detail that it compares to the great city itself, I would surmise that the time, and the effort was worth it. Hope you like it!

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

A weekend in Kraków | Day 1 – Jewellery box city (daily-norm.com)
A weekend in Kraków | Day 2 – Kings, Communists and the Kazimierz Ghetto (daily-norm.com)
A weekend in Kraków | Day 3 – Stars and studies in an enlightened city (daily-norm.com)
A Weekend in Kraków | Mariacki Sunrise (daily-norm.com)
A Weekend in Kraków | The traditions and innovations of Kraków’s food (daily-norm.com)
A weekend in Kraków | Photography Focus 1 – Urban details (daily-norm.com)
Composition No. 9: Ojén Rooftops (daily-norm.com)

Sep 4

7 Comments

Mallorca Map Commission Part 2 – Palma

If I thought the first of my Mallorca maps was a complex undertaking, with its representation of iconic Mallorca filled with the towns and terrain that characterise that Mediterranean gem of an island, then things weren’t going to get any easier when it came to commencing the second of the two commissions undertaken for Cappuccino Grand Cafe this Summer. This time round it was the capital city of Mallorca (and the Balearics) Palma de Mallorca which needed to be put on the map, as it were, a requisite for Cappuccino’s Mallorcan representation, seeing as the popular café chain has some 5 restaurants and two takeaway branches in the city alone.

Map of Palma de Mallorca (2013 © Nicholas de Lacy-Brown)

But quite asides from illustrating the cafés characteristically prime locations, the real dilemma for me, when I set about designing the map, was how best to represent the stunning city of Palma in all its architectural and nautical glory, while ensuring that the illustrations of the Cappuccino cafes did not become overshadowed. My solution was to focus on the areas and the architecture which makes the locations of the Cappuccino cafés so desirable, contributing inexorably to the simple joys of visiting one of their branches, sipping a coffee in the vicinity of the ancient Palau March for example, or overlooking Palma’s yacht-crammed marina; and to otherwise reflect the great mass of this sprawling city with simplified terracotta blocks, these hinting at the architectural maturity of the city, while also resembling the terracotta floors which are characteristic of the Med. However, I suppose the pièce de résistance of the map for me is my representation of the River Borne, cutting through the Western half of the city as it makes its way down to the marina beyond. I could not resist the temptation to give this map a surreal twist, lifting the river like a satin ribbon, out of its river bank, undulating and flapping through the air as it approaches the sea.

Cafes in the Borne and Palau March

The Cappuccino HQ at San MIguel

The Colon takeaway

The Weyler takeaway

The Borne – detail

The Paseo Maritimo Cappuccino

The result of all this is a map which must surely represent a satisfying climax of my Balearic maps, and one whose result is the self-evident result of hours of laborious and detailed work. But with Mallorca, Ibiza and Palma under my belt, the question has to be: where will my map making take me next? With their capacity to capture the essence and character of a place, while reflecting the topography and geography of a location, I have now realised the potential that a map can have for artistic illustration, while reflecting an accurate representation of location and terrain – and frankly, I cannot wait to explore the medium further.

Detail of the cathedral

Detail of the Marina and the River Borne

The Cappuccino Brand Fusion placed in an iconic modernista shop sign (now part of the decor of the Colon takeaway)

Detail of the Cathedral roof and nearby arab baths

Detail of the Es Baluard museum of contemporary art

You can see all of my Balearic maps in the Cappuccino Grand Papier, available online, and in everyone of the cafés irresistibly indulgent branches. What other excuse do you need for a weekend in the sun?

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

Mallorca Map Commission Part 1 – Mallorca and Ibiza (daily-norm.com)

Sep 2

2 Comments

Genius of Geometry: Patrick Caulfield

When I attended the Royal Academy’s Summer Exhibition in 2006, I was completely stunned by an artist to whom the Academy had dedicated a room of its annual summer show: Patrick Caulfield. Born in London in 1936, and died in 2005 (hence the tribute paid to him at the following Summer Exhibition), Patrick Caulfield’s flattened geometric black-lined block coloured works have now become synonymous with the age of British pop-art, although it was a title which Caulfield actually rejected. And he was probably right to. While his works, largely acrylic on canvas, share many of the characteristics of the pop art age (bold colouration, simplified forms, black outlines), pop art promoted and impersonated the commercial world, while Caulfield’s works actually reference art historical notions of representation; from still life to pictorial depth, albeit represented in his characteristic paired down flat colours and simple linear expression.

Early output

Pottery (1969) © The estate of Patrick Caulfield

Foyer (1973) © The estate of Patrick Caulfield

Café Interior: Afternoon (1973) © The estate of Patrick Caulfield

Wine Glasses (1969) © The estate of Patrick Caulfield

Battlements (1967) © The estate of Patrick Caulfield

Dining/ Kitchen/ LIving (1980) © The estate of Patrick Caulfield

It only took one glance that summer of 2006 at the perfectly painted lines and faultless application of block colours used artfully to depict rooms and places, café scenes and still lifes to know that I was completely in love with Caulfield’s works. While I adored the sparse simple images of his 1960s work, my real admiration was reserved for the knockout creations of the mid 70s, when Caulfield started to play with styles, integrating into his then renowned geometric works hints of trompe l’oeil photorealism. So in works such as Dining/Living/Kitchen for example, Caulfield paints a scene characterised by black outlines, block shadows, dispensed brushwork and anonymous handiwork and inserts into it a casserole dish so perfectly represented that you would swear a photo had been collaged onto the background. This technique is used with spectacular success in After Lunch, where the window (or is it a picture hanging on the wall?) looking onto an Austrian landscape is photorealistic to an awe-inspiring standard, while in Happy Hour, the wine glass at the painting’s centre actually reflects in its sheen a realistic depiction of the bar which, elsewhere in the painting is only represented with paired down flattened forms. Absolutely brilliant.

Tromp L’oeil brilliance

Happy Hour (1986) © The estate of Patrick Caulfield

After Lunch (1975) © The estate of Patrick Caulfield

Still Life Autumn Fashion (1978) © The estate of Patrick Caulfield

Interior with a Picture (1985) © The estate of Patrick Caulfield

Second Glass of Whisky (1992) © The estate of Patrick Caulfield

Caulfield’s work not only thrilled me; it also inspired me. I am much indebted to the influence Caulfield had upon my own work – my painting Vintage Q, painted that summer immediately after seeing the RA show, is directly inspired by Caulfield’s technique, while Q4 and Q5, which followed suit, are likewise. Meanwhile, I think much of the interior design I put into place around my apartment flows directly from his mix of contemporary block colours, and interlaced with hints of rich, detailed damask patterns.

Later works: light and shadow

Room 3-95 (1995) © The estate of Patrick Caulfield

Trou Normand (1997) © The estate of Patrick Caulfield

Bishops (2004) © The estate of Patrick Caulfield

Hedone’s (1996) © The estate of Patrick Caulfield

Rust never sleeps (1996) © The estate of Patrick Caulfield

Fruit display (1996) © The estate of Patrick Caulfield

So for that reason alone, Caulfield has always stuck in my mind, but imagine my delight when this summer, a solo show held at Tate Britain afforded me the opportunity to see Caulfield’s works all over again. In 5 exquisite galleries, a comprehensive selection of Caulfield’s works took us from his most simplistic 60s creations (a simple grey well reduced to flattened, even more simplified forms; a bend in the road, some castle battlements (above) and so on), to his brilliantly innovative 70s works, where trompe l’oeil dazzles the senses and shines amongst the flatter planes of the large-scale block colour canvases, and then onto the 80s and beyond, when Caulfield began to experiment more with light and shadow, not focusing so much on the thick outlines of black, but expressing an object with shadows and throwing light, albeit in block-colour form.

My works: inspired by Caulfield

Vintage Q (2006 © Nicholas de Lacy-Brown)

Q4 (2007 © Nicholas de Lacy-Brown)

Q5: Chez Helen (2008 © Nicholas de Lacy-Brown)

I realise that in writing this review, I am somewhat missing the boat, seeing as the Caulfield show at Tate ended last weekend. But that is no reason why the genius of this brilliant artist should not be applauded to the full – an artist who took 60s simplification in an altogether more mentally complex direction; whose works have become iconic in the chic interiors of London’s cool hotels and boutiques; and whose images have been fundamental in shaping my own creative output as an artist.

Patrick Caulfield, the quiet revolution (reinesnotebook.com)

Aug 30

1 Comment

Marbella Twenty-Thirteen | Favourite Photos

As my Marbella season comes to an end, and the third of my summer-time travel tripartite waits eagerly in the wings for Daily Norm exploration (yes, Poland is on its way…!) I wanted to end this series of Summer Spain posts, as I so often do, with a series of some of my favourite miscellaneous photos. Like always, these photos really are a hodgepodge selection, from beautiful stained-glass butterflies and fuchsia pink bourganvilla, to crazy curly street lamps and olive oil bottles glinting in the sun. I love the smaller details which have been captured in this set, such as the tiny little yellow ladybird who appeared like a birthday good luck charm on my 30th when I sat sipping champagne by the sea; and the amazing black and white polka dot body of that incredible butterfly whose startling orange wings glowed like a light suspended in midair when caught by the rays of the sun. But some of these photos also capture wider planes and more general atmospheres, such as the cafe scene in orange square and that fatty delicious churros I ate on my birthday.

As ever these are a set of photographic memories which I will always cherish as something to look back on in the privacy of my own home, but which are somehow all the richer, for my being able now to share them with you. Enjoy.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Marbella Twenty-Thirteen | Puerto Banús (daily-norm.com)
Marbella Twenty-Thirteen | Life’s a Beach (daily-norm.com)
Marbella Twenty-Thirteen | Ojén (daily-norm.com)
Marbella Twenty-Thirteen | Andalucía’s Gem (daily-norm.com)

Aug 29

3 Comments

Composition No. 9: Ojén Rooftops

I’ve always loved terracotta tiled roofs, for the same reason I suppose that I love palm trees and the chirping sound of cicadas in the heat – because they remind me of the Mediterranean, of the sunshine, of the summer. And is there a sight more conceivably Mediterranean than a little hill top village, a cluster of white washed walls when seen from the side, and a angular hodgepodge of terracotta roofs when viewed from above?

It was exactly this kind of collective village feel that I tried to emulate when I moved onto my 9th gouache composition in the dying days of my Spanish holiday, and having visited the hilltop village of Ojén up in the mountains behind Marbella. The lower section of the village, when seen from the upper road which cuts through its centre makes for a rather breathtaking spectacle; its terracotta roofs uniform apart from the odd turquoise ceramic exception; this consistent sea of peachy-red marking a wonderful contrast against the undulating hillsides which form a backdrop against the village, rolling steadily down the mountain as they fade outwards towards the sea. I was particularly enamoured by the hills around Ojén, not least because, whether it be by reason of agriculture or just because of the natural lie of the land, the hillsides appeared to be almost spotty on the one hand with olive trees, like the polka dot traje de flamencas of the flamenco dancers, and crossed with horizontal stripes on the other.

Composition No. 9: Ojén Rooftops (2013 © Nicholas de Lacy-Brown, gouache on paper)

Naturally I couldn’t resist but reflect these patternings in my latest gouache composition, the likes of which I present, fresh from my artist’s sketchbook, terracotta roofs (and those odd turquoise exceptions) included. I hope you like it.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

Composition No. 8: La Flamenca (daily-norm.com)
Composition No. 7: Andalucía (daily-norm.com)

Aug 26

2 Comments

Marbella Twenty-Thirteen | Puerto Banús

While Marbella is pretty much famous throughout the world for its richer, glitzier suburb marina of Puerto Banus, about 10km along the coast from the centre, the port, which houses the big gaudy yachts, the high end fashion boutiques and the boy-toy roof-off sports cars is far removed from the true Marbella, which at its heart has a gem of an old town, and in the streets around it extends a charm of a bustling Spanish town, but one which has authenticity and a feel of Spanish community running through its every vein. Puerto Banus is a different kettle of fish altogether. If superficial needed a dictionary definition, Puerto Banus would be it. Constructed from scratch in the late 1960s by Jose Banus, and opened at a lavish 1970 gala with attendees such as Grace Kelly, then Princess of Monaco present, the port very quickly became the favourite destination of the jet set and those with plenty of cash to splash. Today, the port retains its self-indulgent character, albeit that the occupants have probably become richer, and almost certainly tackier, with their fake bodily parts, hideously botoxed blown-up lips, overly worked tans and hair extensions. The lack of taste in the place really does grate, and after an hour or so amongst the nouveau riche, I am rarely happier to get back to the Andalus authenticity and charm of Marbella’s old town.

Taking the boat from Marbella to Banus…

Marbella’s port

The catamaran taking us to Banus

But get away from the tacky masses, and block out the drones of Essex accents and other unsavoury lingos, and the fact remains that Puerto Banus, built in a uniform dazzling low-rise white, with similarly sparkling white yachts before it and the stupendously beautiful Marbella mountain rising up behind it, is really very beautiful. And there is no better way to approach the port and therefore regard it from a safe distance in all its peopleless beauty than to take a boat from Marbella’s slightly less salubrious marina, to Banus. At the cost of only 8 euros one way, it’s almost the same price as a taxi, but the trip affords stunning views of the Marbellan coastline, reminding passengers of just why the town was named “Sea Beautiful”.

Puerto Banus in all its glory

Once in Puerto Banus, a few restaurants round the corner from the main boutique-filled thoroughfare enable quiet al fresco dining with a stunning port-side location, while just outside of Puerto Banus, in the stretch between Banus and Marbella are situated some of the most stunning, tranquil and quiet beaches in all of Marbella. So when my partner and I headed to Banus by boat this summer, we were surprised how much of an enjoyable experience we could extract from a Port which we have formerly declared a no-go zone. Not only did the lunch trip and the boat over afford us stunning views of the marina and the coast, but our return journey provided us with the most beautiful vistas of them all. Because for those with the energy and the appetite for a long walk, the walk on foot, along Marbella’s amble seaside-promenades from Banus back to the centre of Marbella, is undoubtedly the most stunning walk to be had on all of the Costa del Sol. While it takes a good 90 minutes without stopping, and longer when you stop to take advantage of the tranquil beaches and the well-situated seaside cafes, the path takes you past bounteous plump cacti, extravagant private villas, luxury hotels and quiet beaches which resemble something out of paradise. The walk is in fact so close to my heart that a couple of years back it inspired me to paint “Paseo Banus” (see below).

The famous Banus yachts

The photos which you now see are from our trip to Banus, and the stunning walk home to Marbella’s centre which followed. Our walk probably took around 3 hours by the time we had stopped off at our favourite café Cappuccino Grand Café (and on another occasion Ibiza’s favourite – Café del Mar) and also spent a good hour dipping in and out of the super-calm sea, revelling in being the only people on a very quiet beach. But what an afternoon it was – sunny, hot, tranquil, beautiful – the riches of Marbella reserved for those who make the effort to walk out to them.

Walking from Banus back to Marbella

…and the painting it inspired

Paseo Banus (2011 © Nicholas de Lacy-Brown, Acrylic on canvas)

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Marbella Twenty-Thirteen | Andalucía’s Gem (daily-norm.com)
Marbella Twenty-Thirteen | Double-Starred Calima for the Big 3-0 (daily-norm.com)
Marbella Twenty-Thirteen | Life’s a Beach (daily-norm.com)

Aug 24

5 Comments

Composition No. 8: La Flamenca

Enrapturing, passionate, chromatic; clapping hands, a deep pulsating rhythm manifested in stamping feet, forceful bursts at the hip, all the way up to the twisting, extending, angular movements in the fingers; her face revels in an outward disclosure of passion felt deep within; her wailing, harsh swansong sings of deep sorrow; of inherent, historical pain; her dress, an abundant effluvia cascade of polka dots and frills moves to the same captivating rhythm as the dancer, its multiple layers swaying and bouncing, augmenting the dazzling mirage of a tangible passion climaxing towards its duende.

The dance of flamenco has long fascinated me, captivated my very heart and soul as it leaves me spell bound, pinned to the spot, enraptured by the raw materialisation of an emotional depth and cultural heritage which is so different from any dance ever made in the polite ballrooms of the west. When I went to see a concert of Estrella Morenete this Spring in London, I sat throughout much of the performance in tears. There is something about flamenco – its melodies and rhythms just as much as its dance which has the power to transport directly into the heart of Spain, and I think for this reason alone, I am in love with it.

Composition No. 8 - La Flamenca (2013 © Nicholas de Lacy-Brown, gouache on paper)

This summer’s return to Spain of course never failed to inspire me artistically as the last few posts on The Daily Norm will demonstrate – and where that inspiration led to paintings, I continued to explore the medium of gouache which I first started using a few months back. When I headed along to the Flamenco Ana Maria in Marbella’s old town on the night before my birthday, and was again entranced by the exquisitely spontaneous emotional outpouring of the music and the dance, I knew that Flamenco would inspire my next gouache. So following on from my series of “compositions” in which I take more of an abstract attitude to otherwise figurative works, I constructed my dancer (on a page twice the size of my other compositions numbers 3-7) utilising the idea of an overlapping construct which I have been exploring in my other works, something which worked well when I was unable to settle on one pose, and so instead depicted several poses, all overlapping into a collective exploration of the electric impassioned movements of a flamenco dancer.

Her dress, my favourite feature, is a cornucopia of different reds, polka dots and of course those lacey frills, while the background attempts to reflect not only the angular, chromatic, discordant sounds of the flamenco rhythms and moves of the dance, but also echoes the kind of rich elaborate Moorish wooden ceilings which were introduced in Spain during the Islamic occupation of Al Andalus, and are now an iconic feature of the Islamic architecture which has helped to shape the cultural character of the South, and is indeed accredited to having given birth to the songs and movements of the Flamenco we know and love.

So without further ado, I leave you to look at my new composition, and also, below, a series of photographs from our recent visit to the Flamenco in Marbella. Hasta luego.

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