Globe Exhibition Assistant Anna Marks on our temporary exhibition of Alain Senez’s works.
of William Shakespeare have always been a prominent source of inspiration for
the visual arts. Not only revealing universal aesthetic ideals, many of the
visual customs within Shakespeare’s works showcase the relationship between
visual imagery and language. With Shakespeare’s combination of allegorical
tales and engrossing characters, artists have been producing work for 400
years, demonstrating the diverse influence and success of the Bard’s writing.
Alain Senez, whose beguiling work stands tall within the Globe Exhibition is no
exception. Senez’s dreamy, surrealistic paintings pay homage to the creative
vision of Shakespeare’s plays by capturing and transporting the viewer away
from their reality.
two huge paintings depicting A Midsummer
Night’s Dream and The Tempest.
Confidently layered and established onto canvas, each piece of art reveals the
dreams and fantastical themes prevalent within both plays. Having a fascination
with Shakespeare’s clever use of time and its distortion, Senez tells us, ‘Shakespeare makes it very clear in
his plays that human beings are actors passing through this world. It is this
concept that I think is the common thread running through the two plays I have
chosen to represent.’
Within A Midsummer Night’s Dream Titania and
Bottom lie on the grass, whilst Puck and the otherworldly fairies dance amongst
them in a mystical forest. Senez with his witty brushwork cleverly blends the
woodland into the Globe which appears as a fragile ruin, unlike the solid
construction we know it to be. Shadowy and sensual, the rays of light run
through the composition showcasing Senez’s delicate use of light and dark which
highlight some characters whilst concealing others. ‘I think what
attracts me most to A Midsummer Night’s
Dream, in particular, is the timeless nature of the play,’ Senez explains.
‘The image of the Globe with its instantly recognisable architecture recalls
the successive phases of its existence, destruction and rebirth, enabling me to
intensify this spirit of timelessness. The rhythm of the action is magnificent
and I was very keen to translate this phenomenon into pictorial terms. As if in
a waking dream, the characters criss-cross through their different worlds,
opening up new perspectives and possibilities for an artist to explore.’ Senez’s
Tempest is equally dreamy, with its
mirrored figures and whimsical stormy scenery. ‘Of the two works, I think The Tempest was probably the more difficult to paint.
Paradoxically, I was fascinated by the fluidity of The Tempest and the space it inhabits. What I particularly like in
this play is the fact that in Shakespeare does not make value-judgments.’
paintings have powerful, expressive imagery, capturing Shakespeare’s creativity
that has seized theatregoers since the 16th century. ‘I express the emotions that I feel in relation to
the works which inspire me, whether these works are literary, theatrical or
musical. My aim is to try to transmit the content and spirit of the work that I
am translating. For me, painting should communicate emotion in the spectator.
The ideal would be to elicit from the spectators of my paintings a similar
feeling of wonder that it is possible to experience just as a theatre curtain
rises or a magnificent musical phrase is heard for the first time.’
oils, Senez uses an array of pigments to utilize light in an unusual fashion;
bringing interesting variations in tone to capture each viewer’s imagination.
The medium’s versatility and flexibility makes it an effective substance and
this combination with Senez’s brushwork creates divergent textures. With its
slow-drying nature, the oily pigment is blended to make seamless imagery: the
water glistens eloquently within The
Tempest and in A Midsummer Night’s
Dream the forest appears haunting and organic. ‘I lay great store by spontaneity in the execution of the painting
process. This means that I do not start painting directly or rather, I do not
paint directly on the final canvas,’ Senez tell us. ‘Barring accidents,
whenever I feel I am ready to start the final painting phase on the final
canvas, I know what I have to do, and exactly where I am going. This means that
for each painting there is a long preliminary stage of research and sketching.
The aim is to eliminate any hesitations or pictorial second thoughts, which
would not be possible on the final work. Between day one, when I pick up my
brushes at the beginning of the project, and the final brush stroke six months
You know what I could see, Harley just straight up kidnapping Iris for a day of shopping and relaxation. And after being returned safe and sound she just is even further on the mom^2 side.
Barry is constantly on the out, which is exasperating, because Amy’s got three mums and one dad (not counting Mardon) and he’s always a bit more reserved about Pam and Harley and Iris is off having lunch with them on weekends :)
Adesso ti amo,
come ama il mare la sua acqua:
dal di fuori, dal di sopra,
senza smettere di farsi
con essa tempeste, fughe,
dimore, riposi, calme.
Che frenesia nell'amarti!
Che entusiasmo di alte onde,
e che deliqui di schiume
vanno e vengono! Una frotta
di forme, fatte, disfatte,
al galoppo scarmigliate.
Però dietro i loro dorsi
un sogno si sta sognando
in un modo più profondo
di amare, che è laggiù sotto:
non esser più movimento,
smettere questo va e vieni,
avanti e indietro, da cieli
e abissi, e trovare infine,
fermo, il fiore senza autunno
di un amarsi quieto, quieto.
renaissance lit exam is over and i feel aiiight about it. woo glad to be done and never wanna hear anything about pastoral or the tempest ever again (jk that’s a lie don’t get me started i am happy to Go Off on a knowledge bender at any time). now just coursework to finish for creative writing - planning on drinking wine and grinding away at it tomorrow with a friend.
flatmate is back from london as of today so house feels normal and cosy again wahoo also she brought me back a bag of whisky-infused coffee grounds which is Exciting.
been stressing about money but i finally just got paid for my most recent couple of photog jobs so that’s good. and our power bill arrived and it’s lower than we anticipated. parddddyyyy.
going to bordeaux in 3 days !!!!!!! and then home in 8 days !!!
really into meridian brand’s peanut coconut butter esp on nature valley bars lately. 10/10 revision snack of choice just felt the need to share this with you lot.
idk if it’s hormones or just revision boredom but the past couple weeks i’ve lowkey suddenly been semi-crushing on like 5 different guys that i know. like, out of nowhere. and i’m talking personalities, not just i-wanna-shag-you situs. is this how normal people feel all the time?? v disconcerting not a fan.
today’s skam clip just rejuvenated me majorly and now i’m on hopeful eggshells about tomorrow. tell me at least some of you guys watch skam, pleeease. i need people to discuss it with other than my norwegian uni friends, because we’ve all discussed it to death.
okay. very very sleepy from too many consecutive long library days and a gruelling exam. going to bed. happy tuesday fam xoxox
Do you want to quote more Shakespeare in your life but never find opportunities to say “brevity is the soul of wit”? Do you rarely hang below balconies exchanging love vows with the daughter of your enemy? This is just the list for you.
“What an ass am I!” —Hamlet, Act 2, Scene 2
“I am not a slut,” —As You Like It, Act 3, Scene 3 (Not that there’s anything wrong with that.)
“Hell is empty and all the devils are here,” —The Tempest, Act 1, Scene 2
“Commit the oldest sins the newest kind of ways,” —Henry IV Part 2, Act 4, Scene 5
“This is the excellent foppery of the world,”
–King Lear, Act 1, Scene 2
“Making the beast with two backs,” —Othello, Act 1, Scene 1
“The fool doth think he is wise, but the wise man knows himself to be a fool,” —As You Like It, Act 5, Scene 1
“To tell thee plain, I aim to lie with thee,” —Henry VI Part 3, Act 3, Scene 2 (Works great for courting hot widows.)
“I would rather hear my dog bark at a crow than a man swear he loves me,” —Much Ado About Nothing, Act 1, Scene 1
“I wasted time, and now doth time waste me,” —Richard II, Act 5, Scene 5
“Marry, sir, in her buttocks.” —A Comedy of Errors, Act 2, Scene 5 (No judgement here.)
“My horse is my mistress,” —Henry V, Act 3, Scene 7 (Uh, there might be something wrong with that.)
“Thou dost infect my eyes,” —Richard III, Act 1, Scene 2
“Better a witty fool, than a foolish wit,” —Twelfth Night, Act 1, Scene 5 (“Wit” is Shakespearean slang for penis.)
“[Wine] provokes the desire, but it takes away the performance,” —Macbeth, Act 2, Scene 3
“I had rather live with cheese and garlic in a windmill, far, than feed on cates and have him talk to me in any summer-house in Christendom,” —Henry IV Part 2, Act 4 Scene 1
“Now, gods, stand up for bastards!” —King Lear, Act 1, Scene 2
“Villain, I have done thy mother!” —Titus Andronicus, Act 4, Scene 2 (This means exactly what you think it does.)
“And thou unfit for any place but hell,” —Richard III, Act 1, Scene 2
“The first thing we do, let’s kill all the lawyers,” —Henry VI Part 2, Act 4, Scene 2
“Heaven truly knows that thou art false as hell.”
—Othello, Act4, Scene 2