I formally manipulated the stripes to have evidence of my hand and body. The viewers are invited to experience the work with their bodies through scale and materiality. ".Having identified himself as an outsider from the start, Davie seems to have been quite happy to remain on the peripheries of the art world ever since, getting on with his own work without paying too much attention to what other people are doing.After the war, when he served as an anti-aircraft gunner, he made a living working as a jazz musician (he still noodles on his grand piano for three hours every day) and making and selling jewellery ("I used to make rings for myself to wear – I was a real romantic dandy – I used to wear about six at once").Then, in 1956, he visited New York for the first time, where he was introduced to various abstract expressionists including Jackson Pollock, who spent a weekend showing him around Long Island.Although he was soon being talked about as "one of the abstract expressionists", Davie says he never felt part of a movement as such – he merely recognised some similarities between what he was doing and what his American counterparts were up to, particularly in his attempts to produce art unconsciously. But at the Goat pub in Hertford Heath, a quintessential English country boozer just a short drive from Davie's Hertfordshire home, nobody seems to have heard of him.
Each stroke resembled a modernist "stripe" that was imperfect and organic, literally and virtually contained so that it had to bend, bulge, and undulate across the canvas surface. ".He certainly doesn't seem to see much point in art theory: when I ask him if he has ever read anything about his work that he thinks explains it adequately, the answer is an unequivocal "no". There's a slapstick quality to my work where the movement appears hyper-physical and the image hyperbolic. I view the performance of my body and the making of the work a bit like a parody where the painting's image mimics what it is that I have to do in order to make it. ".Some of the more academic members of staff wanted him to paint only what he could see, but all Davie wanted to do was find ways of responding to the far more interesting things going on inside his head. Patrick Elliott will give a lecture titled "Alan Davie and the art of trying not to think" at the School of Art History, University of St Andrews, 13 May; The Creative World of Alan Davie is at Dovecot Studios, Edinburgh, 5 August to 26 September.This website and its associated newspaper are members of Independent Press Standards Organisation (IPSO).©JPIMedia Publishing Ltd. All rights reserved. Until recently he lived there with his wife, Bili, but she died a couple of years ago, so now it's just the artist and his work. "I'd really like to have a big retrospective before I die," he says, wistfully, "but I'm not sure if that will happen.
Collectively these stripes appeared to almost obsessively caress the contours of the shape they defined, while at the same time optically breaking it apart. This theatre of optics, especially set against a backdrop of nature, inspires me.
".The National Galleries of Scotland already own a representative cross-section of Davie's work, but they should really think of sending a buyer to Davie's home – there's a sell-out Edinburgh Festival show here just waiting to be unleashed. It's my compulsion and desire to resolve the image quickly that gives the image the feeling that it was made out one continuous stroke from a brush that didn't leave the canvas. he says to his friends, 'Come and look at this!
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