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![]() ![]() They were somber, formidably expert in stanza structure and had a flair for alliteration and Massachusetts low-tide dolor.” 1 I don’t plan to use The Colossus as the “before” picture in a poetic body-building ad. She showed us poems that later, more or less unchanged, went into her first book, The Colossus. Her humility and willingness to accept what was admired seemed at times to give her an air of maddening docility that hid her unfashionable patience and boldness. “She was,” Lowell remembers, “a brilliant tense presence embarrassed by restraint. I want to know what Plath was doing in making the dynamic Ariel poems that she was not doing, say, in 1959 when she used to drop in on Robert Lowell’s poetry seminar at Boston University. More specifically, I want to discuss a few of her techniques of style, tone, and structure that seem to me responsible for what I think are Plath’s most characteristic effects. Instead I want to try to analyze her power to terrify us and, less often, to comfort. They are only meant to terrify and comfort.Īs my epigraph suggests, I am not writing to “understand” Sylvia Plath’s poems, or not that primarily. These Songs are not meant to be understood, you understand. From this point the physical process of making the painting can begin.The shape of the psyche: vision and technique in the late poems of Sylvia Plath I hope to distil the essence of a state of mind so I need to tune in to myself and it is through doing this that the idea for the painting starts to germinate. Jules: I often start with a moment of reflection, I may read a poem or listen to a piece of music. He worked for over six decades and developed his own highly original visual language. I also love the rawness and energy of Antoni Tapies. The Abstract Expressionists of the 1950s have been very important to me as have some of the artists of the postminimal art movement in the 1960s, particularly Eva Hesse an American artist known for her pioneering work in materials such as latex, fiberglass, and plastics. I first fell in love with painting when I was at school particularly the beautiful and highly emotional paintings of Edward Munch. Jules: So many artists have been important to the development of my work. During the years that I was establishing my career as an art therapist and bringing up my daughter I didn’t have a studio and had very little spare time but I always kept sketchbooks and spent many an evening drawing at my kitchen table. ![]() In my teenage years even before doing a foundation course I turned my bedroom into a studio, and ruined the carpet with oil paint!. Jules: I really can’t remember a time before art was at the centre of my life. ![]() I hope to create an organic object that evolves like a living thing with its own presence and imperfections.Ĭarol: When Did You Know You Were Going To Be An Artist? The physicality of the materials lends an analogy to the body. The materials are important, I often use not traditional or industrial materials in my work. They relate to the body rather that representing it directly. Although there is often a human presence in my paintings, the forms I use are not human forms as such. Jules: Although my work has evolved and changed over the years it has always been related to emotional states and how these are expressed through the body. As usual, I wanted to know more about her inspiration and process.Ĭarol: What Is The Inspiration Behind Your Artwork And How Does It Relate To Your Pieces? ![]() The surface of the paintings reveal the process of layering involved in making them, concrete, plaster, raw canvas and delicate stitching combine with monochromatic areas of black or grey as well as lighter tones. Jules Allan’s paintings are created in a constant state of revision, by layering, scraping and dissolving the paint she distils the essence of a state of mind. ![]()
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