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Works. Early works, a section I was initially reluctant to display due to the inferior quality of the work and workmanship therein. In many ways these works, which I tend to overlook nowadays, have an equal right of display as they represent the formative and intermediate steps on the creative path to the techniques and applications I employ today. Many of the works include features which are directly copied from the early celtic manuscripts, this was the only source material available to me when I started to research the subject seriously, these works were intended as practice exercises in technique and application, not creative art. |
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ET DIXit. 150mm. x 150mm. 5.9in. x 5.9in. Ink and watercolour on card. 1988. Et Dixit,is a compound letter contraction from the Book of Kells,copying works like these gave me a valuable insight into the methods of design and construction of this style of art.
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P.a.A. 230mm. x 90mm. 9.1in. x 3.6in. Ink and watercolour on card. 1988. P.a.A.,even relatively simple compound letters constantly remind both learner and artist of the level of accuracy and concentration that celtic is required in celtic art.
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Three
Dogs. 104mm. diam. 4.1in. diam. Ink and watercolour on parchment. 1989. The Three Interlinked Dogs, the singular manifestation of all the intricacy and beauty that is celtic art and as you are probably aware, my favourite celtic motif. The highly gifted but sadly unknown artist who created this motif, fashioned the most singularly identifiable symbol of celtic art, worldwide this design is instantly recognised as being celtic; this probably reflects in its very popular status as a design for a tattoo.It is a truly ingenious design that looks good on any medium.
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In
Principio. 330mm. x 280mm. 13in. x 11.1in. Ink and acrylic on card. Copyright James M. Summers 1988. In Principio, my first work which wasn't a direct copy from a manuscript, admittedly it looks rough and quite clumsy now but there is something about the odd layout of the work that I still like, to this day, black and gold on white is still the colour scheme I personally favour. I'd really like to re-create this work, employing the same colours and decorative forms; it would be interesting to see what changes twelve years of experience would make.
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Vox
Audita. 310mm.x 518mm. 12.2in. x 20.4in. Ink and watercolour on card. Copyright James M.Summers1988. Vox Audita, I always regarded this work as an exercise in draughtsmanship (and an object lesson in colours not to use in celtic art), rather than a serious artistic attempt, bright, garish colours simply aren't suited to the aesthetics of celtic decoration. As you can see I hadn't mastered interconnecting knotwork at that time! |
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