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In the photograph are two pairs of legs. Both pairs of legs are photographed up to the knees. One is of an adult pair of legs and the other is a child’s. Both sets of legs are wearing socks of the comic characters Batman and his side kick Robin. The child is wearing the Batman socks pulled up to the knee. These Batman socks are grey and black with the Bat symbol and black outlines. The adult, is wearing a pair of knee length socks of Robin with the R symbol. Robin’s socks are in green yellow and red with black outlines. In the back ground of the photograph there is a Hop Scotch rug with numbers printed in black and white. There is also a white wood door and white walls and the carpet is grey.

In the photograph I found where in the room at what point I met Renoir’s gaze. I am standing to the right standing past the half way to his gaze. The photograph is angled now and the light blocks the middle section of the photograph. I am standing a foot and a half from the wall.

Courtauld Gallery 2025. Pierre-Auguste Renoir (1841-7917)
La Loge (The Theatre Box). The Indexical link between photograph, the viewer amateur photographer and the photographed

It’s the nineties. In a photograph, a young woman holds a baby and is pictured on camera. It’s an impulsive choice, the camera was probably on the sofa in easy reach. The young woman is too bright so is the baby’s blanket unable to see the crochet details. The lounge is grey, the curtains are open it’s night outside.
The image, capturing contact. The baby holds its being without needing to look at her mum neither sleep nor cries. The mum looks at the new born baby not into the camera, disinterested in the camera.

It’s the 3rd of November 2025 at 10.30am outside Lawrence House in the London Borough of Lewisham. On the Bill board it says “Every Pair Tells A Story” a National movement, SenSantuaryUk is protesting this morning. SenSantuaryUk is set up to support parents with children in schools. A parent of a SEN child drops off a pair of shoes to represent either a daughter, son, sister, or neighbours child who is let down by the government school support systems for Special Educational Needs children and college students. Each pair of shoes has a label attached with a short written account of what went wrong and a description of the negligence caused toward the child, or teenager. The toes of each pair of shoes representing a child was turned inwards towards Lawrence House council offices at Lewisham. I was asked as a creative what I thought. Little support was outside at that time. I said: turn the shoes around point the shoes to the people walking along the pavement outside open the conversation to include the public start a conversation. It would be friendly and gain support. Photos were taken and shared with other SenSantuaryUk groups protesting nationally in front of the council offices. Across the country groups were protesting at the same time. The shoes were turned round it helped, the public was included and more supporters were included for the council staff to see. Photographs of pointing the children’s shoes outwards was shared between SenSantuaryUk groups.

In the 2000s there was a young man wheel chair bound. His illness over time made his life more and more limited. I met him at the wedding of his carer. He was glum. We were the spectacle, choppy dismemberment of odd shapes and faces placed in a circle with a white table cloth. We were amusement for the cooler tables, the Surrey table had the grooms best friends on, young women in skater dresses that would make a point to look at us and cover half the face while smirk smiling. We sat at the Eastbourne table. Fiona told me she had found employment caring for a young man. She was happy, pleased for a better wage and all she had to do was keep this man company. She told me they make flags together, “he’s obsessed with flags. It’s getting tedious but pays well.” I know they often went to a park in Eastbourne and I know he looked forward to visits from his carer. None of us had anything in common and after saying hi we all sat silently. I was moved from the Eastbourne table to the Bridle table unable to eat alongside my family, my daughter and husband. A little while after the wedding I was told by Fiona that the young man had been with her in Eastbourne park when he suddenly drove his wheelchair into the park pond and drowned himself. I don’t remember if she said she was there or not when it happened.

A man with his child sitting in front of me.

The man’s child pointing and talking to the window aimed at his dad. The child facing the window. The man wore glasses. The child’s eyes were large round smooth moist bright and clear -when the child turned to face his dad.

In 2025 I saw a portrait painting hanging at the Courtauld gallery London. I found where in the room at what point I met the unknown painters gaze. In the photograph the unknown artist eyes of the sitter, the artist’s gaze were out of focus. The glass to the painting had become streaked with light made by the gallery’s strip lighting. The image has a gap of wall, the frame shadows the gallery wall.

Two fingers tips touching a thumb from one hand and the forefinger from the other.

Sistine chapel:
The panel is located in the central narrative sequence of the Sistine chapel ceiling. The Ceiling (1508–1512): painted by Michelangelo models fingers gap from touching.

Without a direct gaze how does the painting hold your tension? What not even finding the painters gaze? The figures in the painting pass the gaze from one to another . Am I stealing a glimpse at the painters thought?

It’s faint bristles run flat to a bumpy end thin faint bristles, fine silk lengths, plane areas with rounded edges, smooth notch then notch, short slid ends, bowing stuffed, course fibres bends to a length where it stops to fine bristles.

In the photograph is Domenico Fetti (1589-1624) painting of Adam and Eve at Work Around 1618-20 – 2026.
The Bible recounts that Adam and Eve had to learn to survive on their own after being banished from the Garden of Eden. Here in the photograph Eve spins thread and Adam cultivates the land for food. Eve looks inward, she has no pupils for a gaze. She has no shoes to be practical. Eve’s clothes are not spun from the thread on the spall. Unless the sheep’s fleece is of silk. The bull is attentive to Adam ploughing the land. The light focuses on the crops, Eve’s dress, the spall and sheep laying at Eves feet.

That was sound

Lifting the blue laptop rectangle case without the laptop inside it.

One digital pen rolling around inside the blue laptop case.

To love somebody by Janis Joplin (live) the start sounds like an applause.

I was close to the front but off side. A woman was on her own standing fixed to a platform. She was looking at me. I looked back at her. I walked closer and looked her up and down focusing on her bum it’s a bit fat for my liking, I could see her tits but not my type, still she got guts to do what she’s doing, standing on the platform naked. I grinned, nice legs. She’s about to dance, her right arm reaches upwards, her right leg outwards, her foot pointed. But she just stands still. I can walk around her looking at her. I leave as there’s not much else to see.

Mrs Margaret Gainsborough is dressed in fine silk clothe’s for her 50th wedding anniversary. The details on her dress are delicate and respectfully painted. Mr Thomas Gainsborough portrait of his wife is said to be a gift to mrs Gainsborough in celebration of their 50th wedding anniversary. Margaret Gainsborough direct gaze reveals the intimate bond between the painter, mr Thomas Gainsborough and sitter- mrs Margaret Gainsborough, his wife.
Mrs Margaret Gainsborough uses her fine tender hands to lead the viewers gaze towards her facial expression. Her hands gesture towards the pleasant smile and direct gaze towards the viewer in the room not at the painter Thomas Gainsborough.

Thomas Gainsborough (1727-1788)
Portrait of Margaret Gainsborough
Around 1778
Oil paint on canvas.

In the photograph sit two men, one is old, the other a young man. The old man, symbolises a father., Irish poet John Dunham. The young man, symbolises a son, English minor poet John Taylor.
As the father gazes at his son, and the son gazes at me I will retell you a story about the poet John Taylor, the Water Poet. The story starts where I find Taylors gaze out from the corner of his eye, towards my eye with my body almost too close to the gallery wall.
The Water poet was a character living in Elizabethan Jacobean London. The English minor poet lived during Shakespeares time. To impress Shakespeare he proposed a publicity stunt, to row down the Thames in a paper boat. For oars he used two fish tied to canes. Thames London to the Isle of Sheppey Kent. He never sunk to the bottom but kept afloat. He stayed a float throughout the night. The stunt gave him plenty of publicity and helped him make some sales.

From Poet. John Taylor,
The water to the paper being got,
In one half hour our boat began to rot.
In which extremity I thought it fit
To put in use a stratagem of wit,
which was, eight bullocks bladders we had bought
Puffed stiffly full with wind, bound fast and taut,
Which on our boat within the tide we tied
One each side four upon the outward side.
The water still rose higher by degrees,
In three miles going, almost to our knees.
Our rotten bottom all to tatters fell,
And left our boat as bottomless as hell.

An Old and a Young Man, was painted by William Dobson. 1643-2026 Hangs in the Courtauld gallery.

It’s Peter Paul Ruben’s portrait of Mrs Catharina Brueghel and her two children, Elisabeth and the youngest, Pieter. Mrs Brueghel is dressed in her finest clothes. She lived in Antwerp with her two children and husband. In this portrait she holds her children’s hands and is the central figure in Ruben’s painting.

Peter Paul Rubens (1577–1640) , The Family of Jan Brueghel the Elder , Around 1613–15, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld

This is landscape photography taken by an amateur. The title is, ‘Spring, Chatou’ The Chatou isn’t noticeable as a commune. The eye is drawn as if a voyeur, through the trees to note the water and lack of a town. And the unidentified figure in its awkward position is out of focus and sits central in the photograph. The meaning of Spring implies beginnings and new growth, through misunderstanding the amateur photographer, August Renoir has inferred ‘Spring’, Chatou is the potential for a community, of a place where like minded people can come together.

Pierre August Renoir 1844-1919
Spring, Chatou
Around 1873
Oil on canvas

Le Déjeuner sur l’herbe By Edouard Manet
1862/3-1950
Is painted with his favourite life model. Her name was Victorine Meurent. A painter in her own right. She regularly exhibited at the Paris salon. In the photograph, I’ve named it as, The Luncheon on the Grass, for they sit so similarly. But main female figure is fully dressed sharing a picnic with her daughter S, sister H, her sisters’ husband L with their son S. The picnic is in Hereford UK not in the landscape of the I’lle Saint Ouen. Her name was J G she was a Polish noble woman, one of three daughters to a nobleman a composer whose choice instruments where the violin and piano, whose father was a Polish Duke, Before the Second World War my granny , J G was a Polish primary school teacher who taught using both English and Polish language to her students. She taught in a school that is now part of Ukraine.

Ty Twombly. signature. I only know the significance of a signature when it’s used to sign off legal documents formalities like writing itself. The alphabet is repetitive lines that make repeated geometric shapes but the signature is free style personal to the artist. I’d like to include into his signing his paper and pencil abstraction as part of the work. Within the picture frame, Twombly signature is mark making; abstract loops pressing the pencil softer in parts of his signature letters., the y’s are not repeated in form, the strike through the T isn’t straight, it slopes the letters run on and into the next. A signature is a repetition it rewrites itself always be a beginner permanently. And drawing a gesture rotating movements that form variations in pencil.

Cy Twombly UNTITLED
1959
Pencil on paper is at Courtauld gallery. London.

I’m looking into a photo taken before when my daughter was younger. She is sitting half on my lap my phone used for a selfie of us at London zoo. It’s a look into the phone that makes me think she could be looking at me or her dad or someone she trusts. It’s so strong as at first thought there was someone holding the phone and taking the photograph. I think who she is thinking of while she looks into the lens. Or if she can see it while she’s looking.

About: Perspective (visual)
An Entity of Type: Thing, from Named Graph: http://dbpedia.org, within Data Space: dbpedia.org
Form of graphical projection where the projection lines converge.
List of graphical perspectives.
Innovations: The 1420s is marked by the first use of graphical perspective, the “new beauty” in painting in Flanders, and the shift from tempera to oil painting.
See: thumbnailhttps://dbpedia.org/page/Perspective_(graphical)#
Property Value
dbo:description
Many of the artistic conventions we take for granted had to be invented, and they reflect a specific cultural (let alone planetary) context. The perspective view used on the back of the painting in the Early Renaissance rooms exhibited at the Courtauld gallery is one example. An artist has secretly experimented on the back of his commissioned work with coloured line drawings producing the illusion of depth by showing distant objects smaller than nearby ones and by ensuring that parallel lines converge on a vanishing point.
Although elements of perspective go at least as far back as Greek painter Agatharchus in the fifth century B.C., it became popular only with the Italian Renaissance. In early 15th-century Florence, architect Filippo Brunelleschi performed a public demonstration with mirrors (then a new technology) to show how faithfully his paintings depicted building facades. He inspired painters such as Donatello, Masaccio and Domenico di Bartolo (painting above); Leon Battista Alberti worked out the math. Their rigorous geometric constructions ensured that natural depth cues such as size, vertical position and tile patterns were mutually consistent for maximum verisimilitude.

The chosen work is :

Robert, Donald & Barney Go for a Walk. 2019. 113cm x 189cm Fabric, plastic, painted stainless steel. Kerry Jones

* Donald Judd, Robert Morris, Barnett Newman are the American ex influencers.

I used 1970s original fabric vertical blind as a *paint substrate for painting installations that is a sculptural / immersive space includes the studio it is in. Each installation sets a rule for where the viewer is to stand, sit or climb up to view the work. The substrate is low class materials that are found from the space the work is made in. However these substrate materials are functional items such as blinds outdoor industrial matting/ rubber, plastics. painting.
*Mark Titmarsh, author. Expanded Painting. Ontological Aesthetics and the Essence of Colour.

The acceptable Louise Bourgeois used immersive techniques textural materials you can touch with your eyes, and space that either could, or cannot be entered into. Louise bourgeois used red biro, paper, raw latex fabric steel. Her works discusses themes of memory, trauma and the body.

Take McDonald’s paper ketchup cup and pull the pleats apart to make the pot a dish. Now fill with tomato sauce you get more into the paper dish. If you pull the pleats further apart you get a tray. 🥫

Religious works using paint were painted on panels these panels were cut to fit the furniture it was created for. The panels were also cut to fit in with the walls and alcoves of the religious building. In the work by Lorenzo Manaco around 1370 the subject was The Visitation (Virgin Mary) and the Adoration of the Magi (the three kings present gifts to the newborn Christ). These panels originally formed the base of the altarpiece. Lorenzo. Monaco cleverly adapted his composition to the original shaped moulding and contours of the altarpiece the wood, walls, wood colours and wall textures. The painted panels frame is a section of the altar a piece of functioning furniture. The paint is egg tempura and gold leaf, These paintings were based on something other than beauty. The painting was to accommodate the alter not a possession.

A basket weaved by the Pomo people from the west coast of America. Before the reservations, the basket was made from raw materials directly from the environment, trees and birds . Bird plumes from the mallard and meadowlark, Willow rods and Sedge roots. The entire process of making a basket from the harvesting of the materials to the weaving of the basket reinforces the idea that time is governed by the seasons. The basket, a dwelling it nests a baby it carries a baby it buries the dead.

Tangerine peel the colour orange the pith
The peel knife and fork the tangerine peel meal with the skin, that black hard bit in the centre as it has been placed on the peel plate.
The vitamins and goodness are in the peel says Danella Rubinovitz, the wisdom in age is recognised by the peel and pith, It’s in sight of the black bit that I know the whole fruit is real. Describing while holding a whole plump tangerine in my hand it’s black bit is set out the same, the same angle as the peel in Food. Within the minds eye. The black hard bit that holds the tangerine fruit together holds in place the segments of fruit. She is young artist, Daniella Rubinovitz. The titled piece, Food, in the photograph could be a trompe L’oeil or realist painting of the peeled tangerine, Food. The image could have been photographed or painted by some other person or artist.
Portrait by Kerry Jones

See Danella Rubinovitz piece, Food on Artquest.
https://artquest.org.uk/user/daniellarubinovitz/

From the help of a loved one. We think we know someone because of a formal description or perhaps from a hospital letter like the one given alongside Vincent Van Gogh portrait with a Bandaged Ear. I fell in love with this painting not for his self mutilation, if he did, or someone else did or even if invented. But for his applying of paint; I’m left to guess what each object is I’m left to fill in the gaps, is that a blue door open or closed the floor uneven a bandage over one ear but not the other? Have you looked so close to the colours? Are these grooves of paint pushed to the ridges.? The vibrant colours, his colours are almost neon in person. Up close each brush stroke is unaccountable. With centre reliefs made from paint. Almost exposing the white rock of the canvas. The inspired landscape print by a Japanese artist close to his ear, The Geisha’s in a Landscape, reminds me of the room in Vincent’s painting, in its feminine beauty. The paint colours and tones are applying the same, for the mountains and geisha, and Vincent.

Courtauld gallery London Vincent Van Gogh Self Portrait with a Bandaged Ear

About the building
Three ‘Learned Societies’ shared this floor – the Royal Academy, Royal Society and Society of Antiquaries.
This room was the library and ante-room (lobby) of the Royal Academy, Britain’s first independent fine arts organisation. The architect of Somerset House, William Chambers, was a founding member. He made sure its rooms on this floor were sumptuously decorated.
The ceiling features a 20th-century copy of The Theory of Painting by Joshua Reynolds, the Academy’s first president. Surrounding it are original paintings by Giovanni Battista Cipriani showing the artistic themes favoured by the Academy: Nature, history, allegory and fable.

The end is nigh, I’m in the early renaissance room standing to a paintings right, my left to a portrait of a man. I’m looking at him with my face slightly turned to the right. I am quite close to the portrait. He has soft eyes looking directly at me. Round eyes, velvet fabrics and a glow alongside his arm, side of his face and head. He could have been standing while painted. He might not have been sitting for the painter but painted from sketches. A diffused light in his skin eyes clothes. He was an easy gaze to find while walking through the room.

I did not keep the portrait details of who the portrait is and who the painter was.

A Bar at the Folies Bergere Sharon. Edouard Manet 1882.

It’s 2012 on the 12 floor I can feel myself rising while I’m trying to sleep in my student bed. Sounds are very clear as if people are conversing next to me the higher up sound gets the clearer and distinct it becomes. But it’s the feeling while trying to sleep of being 12 floors up that my body cannot adjust too. I heap blankets on top of me that hasn’t worked I try radio Coventry local to distract my senses that doesn’t work. In the end I find a heavy framed painting to lay on top of me, ‘A bar at the Folies Bergere Sharon’ by Manet. What if someone knocked on the door wanted to come in and saw this ? I’m unsure I locked my door I usually recheck it’s so automatic to lock a door. A few sounds from the square around the student halls. Coventry cathedral helps to make it quieter. I hear a few coughs from down below people walking past it is early hours. I’m awake and need the toilet, my room has a wooden wardrobe with a small hand basin. I hear people walking the corridor outside my room. I’m sleeping in a t shirt I don’t have the matching night outfits that the students wear. The painting and blankets gets knocked into the wall can next door hear this? I face my bed jump up onto the sink and wee into the basin aiming for the plug hole so not to splash. I use toilet roll and put into the bin next to the desk spray the sink and get into bed. On my back, A Bar at the Folies Bergere Sharon, Manet is on top of me I add anything else I can find to add to the weight. And sleep in my bed.