Gerry Baptist - OLDIES BUT GOODIES

Here is some of my early work starting with my abstracts.  I was working in advertising in the headstrong Mad Men days of the 50/60s and came home wanting to do something more sane.  I painted a large number of 8 x 4 foot abstracts on board, in oils as well as pencil or marker pen drawings on paper.  Coming from a world where everything had to be justified – the work I did, didn’t seem to make any ‘sense’ to me, they were anything but ‘sane’.    At that time, I hadn’t realised that more often than not, when painting you are some place else, you have no ambition other than to paint, something you just had to do. Looking at the work was an odd feeling as there was a disconnection between what was in my head and what I’d painted;  I was just surprised and perplexed at what I’d done.  It didn’t stop me working, it just made me want to find out what I could do.  But eventually I felt it was time to stop and hid the work.  Sadly I later burnt the large paintings but luckily I kept a number of the images on paper which reminded me of the many late nights I spent working-  and the work still needs no explanation.

Then there’s a jump to a few paintings I did in response to Thatcher’s period of extremes – the large painting ‘Photocall at the Last Supper’ was on the excesses that were so approved of – the lust for money and the knowledge that anything goes- as long as sacks of cash can be made.  That’s what was encouraged and and so all was well with the world- to hell with everything or everyone else.  They were interesting if alarming times and it made me start thinking about the way we humans have lived on our planet. But it was too depressing to continue for long,  so I made one of my many changes and moved on, curiosity made me look for happier and perhaps healthier images.

© Gerry Baptist 2020