Monday, May 25, 2009

Paul Holman...Tara Morgana IV

Tara Morgana IV


The memory of a bewildering romance:
her tongue had turned white, the
ugly flight jacket bought the day
before had suffered a three cornered
tear. Her eye imposed the spectre
of a building upon a gap
in the city, but I found
nothing better to do than sketch
the map of mountains, fissures and
interconnected lakes which the action of
heat and sudden rain had developed
upon the path.


She gazed into the mirror treated
with seven excretions: ophidian skin, mottled
breasts and shoulders. The fumes settled
into the handsome animal mask of
my father, not as he was
in life, but as it had
proved convenient for me to represent
him to myself. By this time,
she was delusional, ransacking the house
in search of the one object
that caused her damage. I marked
a cross upon the tablecloth, then
added four dots at the intercardinal
points, connecting them with the looping
walls of that labyrinth through which
I follow him now.


She vanished among men of unguessable
temper, always older, who made no
remark about the tremble of the
skeleton at the foot of her

From V

The transmission I failed to
summon again, as if it could
be recovered by walking in a
stupor beside that same river,
stinking of beer and mud,
above which I had glimpsed a
moth patterned city, my hand
upon the waist of the first
girl I tricked into performing
an action significant to me
(game to accept the hazard of
my company, the boredom).

Wednesday, May 6, 2009

Ex libris... Austin Osman Spare

  few scans from one of my favourite books...



by Robert Ansell 1988





more wondrous treasures at...

Sunday, May 3, 2009

Delmira Augustini ...



En mis sueños de amor ¡yo soy serpiente!
gliso y undulo como una corriente;
dos píldoras de insomnio y de hipnotismo
son mis ojos; la punta del encanto
es mi lengua… ¡y atraigo como el llanto!
soy un pomo de abismo.

Mi cuerpo es una cinta de delicia,
glisa y ondula como una caricia….

Y en mis sueños de odio ¡soy serpiente!
mi lengua es una venenosa fuente;
mi testa es la luzbélica diadema,
haz de la muerte, en un fatal soslayo
con mis pupilas; y mi cuerpo en gema
¡es la vaina del rayo!

Si así sueño mi carne, así es mi mente:
un cuerpo largo, largo, de serpiente,
vibrando eterna, ¡voluptuosamente!


In my dreams of love, I am a serpent
I slide and twist like a current;
My eyes are two pills of insomnia and hypnotism;
The centre of my charms is my tongue…
And I lure like the sound of weeping
I am an infernal fruit.

My body is a ribbon of delight,
It slides and twists like a caress

And in my dreams of hate I am a serpent
My tongue is a poisonous fountain;
My head is a brilliant crown
Shedding rays of death, in fatal symmetry with my eyes;
My jewelled body is a sheath of lightning.

If this is the flesh I dream of, then so is my mind
A long, long serpent’s body
Pulsating eternally, sensually.

Translated by Candida Taylor


Friday, May 1, 2009

Robert Oskar Lenkiewicz...

Self Portrait

Robert Oskar Lenkiewicz was born in London on 31 December, 1941. His parents were Jewish refugees and ran a hotel in Kilburn for fellow refugees, some of whom were survivors of Nazi concentration camps.

Lenkiewicz began painting at an early age, often using hotel residents as his subjects. At the age of sixteen he began studying at St. Martin’s College of Art and Design and later at the Royal Academy.

Lenkiewicz moved to Plymouth in 1969 and was drawn to vagrants and alcoholics. He helped them to commandeer old warehouses for shelter and they in return would sit for him and be the subjects for his paintings.

Lenkiewicz embarked on a series of ‘Projects’, the first of which was Vagrancy. These ‘Projects’ would combine paintings with observations and notes written by both the painter and the subject, sometimes together with notes from the people involved with their care.

For the residents of Plymouth Lenkiewicz was becoming a familiar figure. He painted a large mural onto the façade of a building near to his studio on The Barbican. The mural portrayed famous historical figures such as Francis Drake and Walter Raleigh. At one point Lenkiewicz painted over this magnificent mural, a couple of migrating ducks, in removable paint. A box for coins was placed at the foot of the wall and the public were invited to vote for the painting that they preferred by placing a coin in the relevant slot. This was typical of Lenkiewicz.

He also came to attention in 1981 when he faked his own death to publicize an upcoming Project. He was in fact alive and well.

Lenkiewicz was an avid collector of books, building up a collection of some 25,000 volumes on subjects which included art, psychology, sexuality and magic. Many of his paintings were sold to fund the purchase of a ‘must have’ book which was in the hands of a London dealer.

Robert Lenkiewicz died from a serious heart condition on 5 August 2002. He was buried, according to his wishes, in the garden of his home in Lower Compton.

The Mary Notebook

Magdalena & Mary, 3 June 1978

'Addictive state serious', 24 Feb 1978

Robert & Mary - pen & ink

The Mary Notebook is the fullest realisation of the artist's thought-provoking and unconventional ideas about the nature of human relationships: especially what Lenkiewicz termed "the falling in love scenario". Lenkiewicz had previously presented a variety of 'Projects' (exhibitions of paintings and drawings accompanied by research notes) with titles such as Love & Romance, Love & Mediocrity, and Jealousy in which he explored the idea of romance as an aesthetic relationship, as opposed to an emotional or spiritual connection, with overtones of addictive behaviour. He strongly held the view that any erotic relationship did not occur between oneself and the other person, but between oneself and one's own 'aesthetic package' of private fantasies and predilections, indulged in the other's presence.

The entire assemblage intensively recorded the artist's thoughts and sensations during four years of his relationship with the enigmatic Mary, from its beginnings in 1978 to their honeymoon in Rome.

"Lenkiewicz would record their every encounter in minute detail, meticulously noting each emotional shiver and physical tremor with almost clinical detachment and illustrating each page in hallucinatorily vivid watercolours. The Mary Notebook, as it would become known, is a disturbingly compelling document..."

Mick Brown, Telegraph Magazine, 9 Oct 2004

Lenkiewicz: The Book Collector

The Book Collector