The stunning painting above is by artist Gordon Seward, currently exhibiting at the Espace Bouquières in Toulouse. Gordon’s work has been shown at prestigious venues around Europe, as well as in the UK and the US, and has been the subject of glowing articles by critics and collectors. But Toulousains are specially blessed (hooray!) as Gordon, for the last fifteen or so years, has returned each summer like a swallow to his adoptive city, thrilling locals and visitors alike with his latest creations. The fact that it was pouring down on the first morning did not deter devoted collectors from queuing up early in order to rush in and bag a goodie.
Bursting with beauty and emotion, luminous, vibrant, dramatic, bold, dancing, joyful, fluid, free–these are some of the expressions that spring to mind as you stand before the paintings. Swiss soprano Brigitte Hool, on a visit to the pink city to perform in The Magic Flute, stepped into the gallery one day and looked around. ‘Can I,’ she said to the surprised artist, ‘sing for your paintings?’ Which she then proceeded to do, celebrating them with a Puccini aria.*
What a perfect reaction.
Lacking the adequate tessitura to do a Mme Hool, or the springy calves to convey my admiration through a series of Nureyev-like leaps, I will try to express my own feelings in this short blog. (Obviously, I’d like to write a long blog, a very long blog, but…)
Art critics have described the artist’s work as ‘an ode to life’, ‘a source of constant pleasure’. Seward is ‘a colour magician’, a ‘new Fauvist’, ‘his explosive painting (bringing us) the fearless Mediterranean spirit and freedom.’ Gordon himself, in his autobiography Why I Paint, talks about the importance of first learning the rigorous craft of drawing, then describes ‘letting go’, allowing free rein to his intuition as a way of spurring the paintings ‘to bubble and sing’. He cites Matisse (one of his idols) as someone who ‘determined in contemporary painting the fundamental elements of joy and humility’ which ‘seem to me now more revolutionary and necessary than ever.’
This year, along with his wife and constant Muse, poet, lyricist and translator Cécile Toulouse, he has been working on an exciting new concept, a limited series of signed ‘Digigraphies’, high-quality lithographs using a technique which allows a dazzling range of colours. The theme chosen for this first series is ‘Toulouse’, in particular the city’s historical connection with some of the most amazing chapters in French aviation.
Readers of this blog will be only too familiar with my own attachment to la ville rose where I lived for many years, as well as my enthusiasm for this period of its history**. In the 1920s and 30s, Pierre-Georges Latécoère developed what was to become one of the world’s most legendary airlines (which incidentally will celebrate the centenary of its birth at Montaudran this year).
His aviators and mechanics were a larger-than-life bunch of daredevils, poets and writers, who risked their necks on every mission. Passionate about their vocation, they also had an appetite for life which included l’amour, toujours l’amour, prompting Didier Daurat, head of operations at the airline, to arrange for these ardent young men to lodge at the Hôtel du Grand Balcon on the corner of the Place du Capitole, a respectable boarding house run by the three genteel Marquez sisters. This, he assumed, would keep them in check (it didn’t–the sisters were pussy cats who adored their lodgers).
Both of the Sewards are keen historians, also fascinated by the city’s association with these fluttering starts in aviation. Gordon first set up his easel in Saint-Exupéry’s former quarters at the hotel, Room 32, many years ago, before the place was renovated.*** His canvases show the view looking out from the window towards the famous 18th century Capitole building. In January 2015 he returned to paint the moving scenes as people gathered on the square to hold a vigil after the Charlie Hebdo massacres (this is the subject of one of the ‘Digigraphies’).
This obligation of the artist to keep the flame of art burning more brightly than ever in ‘the heart of darkness’ recurs in his autobiography. He talks of Matisse, refusing to leave Nice during WW2, continuing to paint as bombers roared overhead.
‘To hold in your hand a brush or a gun. To arm yourself with a pen or a dagger. A choice brought before us every day, as it always has been.’
And so it was, dear readers, that this weekend the Maître de Maison and myself sallied forth on our annual pilgrimage to the Espace Bouquières (alas we have missed a couple over the years), treating ourselves to a day of joy and nostalgia in la ville rose, soaking up the dusty heat and southern ambiance, strolling arm in arm through the narrow streets, past café terraces and fountain-splashed squares packed with locals and tourists.
Toulouse has changed dramatically. It continues to change with terrifying speed: the gigantic aerospace industry, the ‘Silicon Valley’ IoT (Internet of Things), the sci fi projects for flying taxis, driverless buses, the Hyperloop tunnel which will shoot trains between Toulouse and Montpelier in 20 minutes. Buying lamb chops at the Maison de l’agneau in the Marché Victor Hugo (opened in 1892), we exchanged reminiscences with the butcher.
Twenty thousand new arrivals each year, he told us, making neat wax paper packets. A far cry from the ‘old days’ when chansonnier Claude Nougaro penned his famous hymn to the city of his birth, ‘a flower of coral watered by the sun’ (have the Kleenex ready as you listen):
Celebrating the old and the new at the Espace Bouquières, the artist and his Muse welcome visitors, answer questions, talk about art, music, history, literature and life in general, including the trendy barber doing hipster haircuts just down the street. They are always, unfailingly, ‘disponible‘, at the disposal of all who come to buy or simply to look. And all around, on every wall, is a joyous ‘ode to life’.
What a treat.
The exhibition finishes on June 16th, but the four ‘Digigraphies’ will continue to be displayed in Toulouse at the Magasin Trait, 4 rue Vidal. There are also permanent exhibitions in Marseilles (Galerie Grossi), Lille (Atelier Kolorma), and Montauban (Art et Patrimoine).
Unlucky mortals far from these cities can amuse their bouches at:
PS: For the last several weeks I have been going through the elephantine birth pangs of finishing off Villa Julia, the last book in the French Summer series. In this I have been helped by a kindly fairy godmother who popped up from cyberspace and offered to help. Her name is Paula Heron Phillips(I hope she doesn’t mind me mentioning her in this blog) and she has been reading drafts, wielding sticks and carrots and giving excellent feedback. All through the sheer goodness of her reader’s heart. Every Indie author should be so lucky. I am so grateful. Merci Paula!!!!!xxxx. Anyway, I was happy to escape from the maternity ward for a day, put on my city togs and swan off with the Maître de Maison to see the Expo Seward. Especially as, along with the formal card, there was a more personal (and cheekier) invitation (see below) from the little bird which features in many of the artist’s paintings in various forms. I like to think this one was the nightingale the ‘light-winged Dryad of the trees’ which had serenaded us in our garden all through May, charming many a magic casement and causing us to hold up the mobile phone countless times in an attempt to record its magic notes (all we got was crackle). Here it is.
PPS Villa Julia will be out in …the future….
*recounted in Why I Paint (available from the artist’s website)