Creative wonder

I am just sat next to my 2 month old son. I have tied a helium balloon to his cot and watching as if I had just provided the most fabulous entertainment there is. His face is of total wonder at the movement and shiny patterns reflecting off the balloon. I think he will probably be the sort of kid who will play with the cardboard box and not the fancy go-cart in Christmasses to come.

I've had his kind of face the past week or so. We are having our biggest inflow of new artwork from different artists for a very long time. My eyes wide, mouth slightly open, a bit of drool coming out. Well not the drool but it is strange how artists and galleries go through cycles. Seasonal changes have meant that many artist have picked up their brushes and gotten painting again. Maybe its the look of the new gallery above.

We have been putting the new work from Alan Knight, Steven Cooper, Caroline McManus, Julie Dumbarton and Emmesse up on the site but there is still more to come from Charles Willmott, Jenny Hirst as well as a further 4 undisclosed new artists. This is a mixed exhibition and we wanted plenty of choice for people coming in over the christmas period.

This amount of work coming in has meant we are having to change things around more frequently. If we had a gallery 8000 sq ft we would easily fill it just like if you take a massive suitcase on holiday you won't let it go half empty. The changes are a good thing though and customers have been giving some very positive comments. Its a better reason to stop by more often when you know the artwork will change week on week.

Our framing service has also been a big hit. Because of this we have increased the number of moulding we have on offer and the pieces coming back look very professional and hugely enhances the work. We've found that many of the block canvasses have much greater impact when framed. Its a personal preference but a decent frame can make or break a piece of art. Its the easiest and quickest way to add visual impact and value to your work. When you see the difference it makes, you will know it's worth it.

We had our teething problems with the move. British Telecom caused no end of problems when we had no phone or broadband for the 1st 3 weeks of October. I know other people have had bad experiences with them before but this was a very serious and difficult problem to deal with. However we are back on the art trail and back in full flow with some great artwork coming in. We still have great artists who are the ones to watch so come along and prepare to adopt your "Just seen a bobbing balloon" expression.

Summer flurry

The end of the rain is nigh. Schwelching round Manchester for the past month has made me feel we will have a great September. Surely It can't be any worse. However, the world has conspired to create great conditions for painting. Where many galleries have taken breaks and closed down, we have taken in and sold more work than ever. It has also brought it a fair share of artists who just aren't quite right. More than a few had some success in the past and were indignant at our decline to show their work. Normally most artists accept rejection gracefully but some make it very difficult no matter how nice and tactful we are. These are artists who are stuck in a style rut, rehashing 1990s work in the hope that people will suddenly become nostalgic for dated looking artwork.

On the whole though, the extra time off, the long days and the rain I think has helped artists create some great work. Last weekend we took a trip to Bristol to pick up work from Gemma Compton and Dan Parry-Jones. The only option to me was a sunday trip with the heavily pregnant wife, Katie, just in case she dropped that day (she didn't).

I bribed her with the potential of a McDonalds. This went down well although I must stress that this is a very rare occurrence for we not of the kind who partake in this kid of behaviour regularly. I sometimes think that eating dirty fast food is something that can create slight disapproval and is one down from smoking on the finger waggometer. We settled for a Burger King in a service station mostly out of sight of the obese family who would have put us off our food.

Sundays are my only day off so this was kind of sacred but the other option was expensive couriers and battered, delayed and uncertain deliveries. Do you get the impression I don't like couriers? Our local courier is a super jovial cheeky chappie who you can't help but like. But even he managed to dent an expensive piece of artwork transporting it within greater manchester. He was lucky to escape my wrath which manifests itself as a tut and roll of the eyes.

We made good time and pulled outside Gemmas house. We went in straight to the kitchen where she had wrapped up the work. Her boyfriend is a well know artist called Chris (AKA Copyright) so I went to have a look at his studio at the bottom of the garden. I left Katie to chat to Gemma. Apparently she asked Katie whether she was into art like me. Katie thought about this and thought that any other answer other than no would invite lots of complicated questions she wouldn't know the answer to. So she said no.

Gemma is into fashion and designs for ASOS and Top Shop so the art is an extension of her creativity. The couple are the type that ooze effortless cool. I have seen the kids who hang around near the urbis who have hair that takes at least 15 minutes to create, and it still looks rubbish. These are people that care so much what people think of them they go to huge lengths to make sure people think they don't. Gemma is effortless though, as is her artwork. Highly detailed she is meticulous and has fantastic brushwork and technique. I was more impressed in reality and think she is a hugely talented artist.

Having picked up the work we went down the road to Dan Parry Jones's house. Dan was away camping so his wife let us in and kindly let us pick up the work. She; hungover from a night out because of the kids being away, us; feeling mildly intrusive at picking up work on a sunday. All was good though and Katie was already picturing his work in our house. We left with a car full of great art I knew wouldn't be damaged in any way.

A successful day in all. There are periods in the gallery when you don't see any decent artwork. These are frustrating times, like when you miss out on your cup of tea or coffee of the day. I now need to see artwork that inspires me otherwise it feels like we aren't getting anywhere. Now though I can have my cup of tea and a nice piece of cake on the side.

The New Blyths

It's all a bit hectic at the moment, hence the sparcity of blog posts. I bought a little art shop in Manchester a couple of months ago called Blyths and my feet haven't touched the floor since. I have put my finger in another pie and it feels a little hot for now at least. According to Phillipa I have reached Ian Beale like status which I took as a slight. How could anyone aspire to be a small time, middle aged cafe owner in a tawdry soap opera I ask.

From art gallery to art shop, from art buyer to artist buyer it has been like crossing over the divide within an industry that seemed so familiar beforehand. I thought I knew about the creation of art but boy was I wrong. Mooch is all about the end result and the emotional appeal of a piece of artwork. Blyths has meant I have to get all technical with the products. Customers pour over the colour and gram of paper and the concentration of pigment in the paint.

A couple of weeks ago we had someone who bought a large amount of art materials in one go. A couple of hours later a psychiatric hospital rang the shop apologising and asking to return the goods. I heard what had happened when they rang again, Tim came and delicately told me the "The woman is on the phone about the mental guy". Tim and Lyndsey recognised in hindsight that buying art stuff for his friend Van Gogh is not the norm.

Phillipa has the same issue with a particular guy who walks into the gallery every day, yes every day, and asks her if she is okay? A brief and daily one sentence conversation that left her feeling she was being stalked until realising he did this to lots of other shops too. A ginger man with 50s style quiff, leather jacket and tight jeans, he reminds me of a northern version of Disneys Chipmunks. He is equally as irritating although harmless enough.

All in all Blyths is a brilliant company to run with amazing potential. For mooch it means we can cast a wider net and find more talented artists. Mooch has the summer show on and the gallery is looking better than it even has. We are still changing and updating the website and looking at new artists so you will be able to see new work every 2 weeks even if there isn't a show on.

Oh and if you fancy taking up art or need some art materials, check out H.Blyth&Co in Stevenson Square. Its really rather good.

Inside out episode - March 8th BBC 1 @ 7:30

A program on the creativity in mills featuring mooch artists, Caroline McManus,Victoria Ashworth, Sean Caherty and Alan Knight. See earlier blog for some more pics of them filming, it was ever so exciting.

Artist Focus - Michael Gutteridge

I'd taken a wrong turn in the maze of terraces even though I had sat nav. It was a dark, rank night and I was heading towards Michael Gutteridge's house in Gorton. It was the end of a full day of carting artwork around and I was knackered but knew I had to fit this in.

We had met a couple of times before and I needed to see how his new work was coming along. The large open plan lounge was dark and he had brought his paintings down from his studio upstairs. He had a couple of pieces on the wall and had brought a few more down. All the same size, painted on board they really stood out.

Michael's colourful and surreal paintings are at odds with his reserved character. I keep thinking of a media trained premiership footie player whose post match interview doesn't event slightly reflect the amazing skills he has. It's the paintings that matter though, and they are absolutely fascinating.

The few he completed since I last saw him showed the same twisted, distorted and vibrant view of Manchester. He has his own style and doesn't pander to the latest trends in art. I have a lot of respect for this and can see that perhaps he has chanced upon something that people really love.

He has had some great publicity being interviewed by the BBC and plenty of other local magazines and newspapers but this doesn't seem to have affected his work or his attitude. His influences are clear. The simplified casual figures set within Mancunian cityscapes have hints of Lowry. More than that Michael has "let his paintbrush off its leash" taking influences from Chaim Soutine in the warping of reality. His influence from Matisse have injected bold and vibrant colours and generally give his work a positive feel regardless of its content.

He showed me one of Shambles square, laid it on his sofa in the dark lounge.

When presented with a painting I always try to get a good impression of it from a distance. You always get a gut reaction when you first view artwork but always need to get up close to see the brushwork and the finer detail of the piece. I became engrossed in the stories within each piece. It's set after work with the guys wearing ties, its sunny and people are sat chatting with friends. People on mobile phones, raising their glasses and enjoying the warmth. The surreal distortion looks like it has given the man on the left in the red tie a drunken swagger. The man in the blue shirt slumped on the table also seems to have had his fill. The sandwich boards dotted around the square all make references to the ales available and it is full of people sampling it.

It became clear why collectors hold Michael's work in such high regard. It is extremely well thought out and it has a totally unique style that is modern and yet timeless.

Meeting Michael is an experience that makes me realise what incredible things must be going on in peoples minds. We all have our own perspectives and artwork can give us a glimmer of what is going on inside an artists head. If we could all paint, what kind of world would we show?

"All that Jazz" Exhibition featuring work from Michael Gutteridge and Dai David

Preview: Wednesday 3rd February: 6-8pm

Exhibition continues until March 1st.

Free entry come along to have a chat to the artists over a glass of wine.

The Run up to Christmas

Crowded steamy shops and ice covered pavements with tottering shoppers clutching masses of bags. The city was manic and yesterday I could've normally done what I wanted to do in half the time. The commute has turned into over an hour of sliding around in an icy 10 mile queue. The ingredients are all there for a miserable git rant of Dickensian Scrooge proportions.
But for the fact it feels like a proper Christmas. I would skip through the snow coming to the gallery should I not, a) fall flat on my arse and, b) look like a girl. The Manchester markets are brilliant and a few nights ago I sat chatting drinking a beer slowly losing all sensation in my fingers. But it was a discomfort suffered for the greater good of experiencing a country that is exciting and cultured and outdoorsy and ermm german. They have banned outdoor heaters because of a ridiculous notion that they are bad for the environment.
The view out of the gallery is pretty much the same as it would have been in Victorian times and the people coming into the gallery have all been in good spirits. So despite the ball ache of the rush to consume, I'm, in festive cheer. Phillipa was let out of the gallery especially so she could play in the snow she was that excited. She eventually got the teenagers to put down their cider and cigarettes to have a snowball fight. Okay the last bit I am joking but I kind of wished I was a kid again.

I opened up briefly to pick up some artwork for delivery and a few people came in. One of them looked and sounded like Guy Garvey. Bit of a strange one and I'm not even sure it was him but would never come out and ask directly. That's not particularly cool and I like to think of myself as cool in front of celebrities. That way I am more likely to become their best friends.
I hadn't even opened properly and the lights were off but I put them on while they were there. The woman said she had one of Danny Cawley's pieces of art. The conversation didn't go much further than that other than he said the space was great and where was the UGG shop. Guy Garvey likes the gallery, take note people.
We are open till 2m on Christmas eve and there are still people who are buying presents who come into the gallery to buy for themselves. It takes great judgment to buy art for someone else and that's why we offer gift vouchers for the unsure.
Feel free to pop into the gallery and experience the Christmas cheer of the city.

Christmas decoration

I met this woman once in the gallery who got me thinking about the line between art and commerce. We get a lot of artists coming in and coyly dance around the subject before they ask "how do I get my artwork into this place?". It's so obvious but we need to be patient and play out the routine.
She came to Oldham street and said she supplied artwork for new housing companies. 20 or 30 at a time, big bold splashes of colour done in no time at all. She said she sells them for pennies but would like to sell them for more and she could really churn them out. This was the the epitome of decorative art and to be honest made me cringe. A shameless sell out display of sub standard work with little or no thought applied to it except the aim for it to fill a wall, have the right colours and sell. Like an X Factor cover song, fatuous art like this has its place but not in a gallery like mooch.

I used to work for a large catalogue company who went through a huge change and a new CEO who gave us a big presentation at the Odeon cinema in the Printworks. This guy highlighted the products on sale that make a mankini seem like a great choice of beachwear. A sculpture of an elephant with a glass table on top came up onto the cinema screen which was greeted with giggles from everyone. The buyer I was sat next to sank into his seat, saying "but they are my best seller". It was truly crap.

Some stuff is rubbish to start with but also when something or someone starts becoming popular there is always a bit of a backlash against their popularity. They are accused of selling out and lose a bit of their credibility if they find out their parents are into them. I was in M&S last week and picked up a jumper, I was lying it against chest when a doddering pensioner came and picked up THE SAME JUMPER. We even made eye contact and he gave me a knowing nod. Mortified, I vowed to shop in places where this kind of person was not. With original art you realise you won't have this issue.

So I ask where should you draw the line in an art gallery? We see lots of art which is impressive and of good quality but its not the kind of thing people will want to buy. It feels bad especially when you know they have talent. People would just look at the work like they would a transvestite. Curious, but not really interested in being a part of it.
I guess the dividing line is when people look at the art and consider whether the work will fit in with the colour scheme of the room they are wanting to hang it in. Its not a problem if people look at work with a view to it fitting in. That makes sense but It shouldn't be the overriding factor.

Fine art should be created purely for their imaginative, aesthetic or intellectual content.
Collectors come into the gallery and people have bought art and then decided where it should go. It's one of the best moments of this job when someone completely and totally falls in love with a piece and buys it with absolutely no idea where it will be hung. To own a piece of art for love rather than its function is a beautiful thing.

Sign of the times

I'm very conscious of not talking to the point where peoples eyes glaze over. Being a sophisticated male, adept at noticing changes in mood, I know this is likely to be a bad sign. I love cars and motorbikes but know that if I bleat on about it too much, you will leaving thinking "What kind of freak learns that kind of stuff". In a gallery it is especially important because art still has the air of elitism that leaves casual shoppers feeling like a philistine should you not know the work from Tom Roach for example.

We like to be genuine about our artists and its really important to not get too hung up on artspeak. Concerning art, there is a real need to minimise the outrageous and baffling statements that seem to accompany fine art. The last thing I would want is for someone to have the same disbelief my wife did on hearing Natalie Cassidy is a size 12 on Strictly.

I have a friend who Brands companies (He branded mooch in fact). I have genuinely good conversations with him on fonts. Admittedly I wouldn't talk to anyone else about this lest they feel that time has stopped and they are trapped in boring conversation hell. Everyone has their expertise and interests and everyone has a geek inside them that they are reluctant to announce to the public.

So here be the most mundane post of all. Signage. The look of the gallery is really important so I got really excited when new signage went up the other day. It's an effort to reduce the number of people that stumble on the gallery having walked past every day and not sussed out that we sell art.

The piece de resistance is the white "mooch art" on the counter which looks like a work of art in itself. When my friend sees it he will reach a climax of helvetican proportions. People will flock to see what extraordinary visions of loveliness they can behold when drawn in by some simple lettering that promises artistic nirvana.

When you get there it will be Phillipa who will engage you with riveting conversation. And in coming to mooch art you will definitely familiarise yourself with tom roach (get it?).

Artist Focus - Alan Knight

I stood in the middle of the studio and with my mouth open, peering up onto the high walls of the mill. I did a slow 360. No space was left uncovered by Alans artwork and it was like being inside a kaleidoscope. There was art everywhere and I said, "Wow you can paint". I love the smell of oil paint and the air was thick with it because Alan uses bucket loads of the stuff. Thickly applied with a knife, it is almost inconceivable that such artwork can be created with the tools laid out in front of me.

Formerly a professional guitarist he clearly has a creative spirit. He came to painting later in life and has been refining his technique for a number of years. Only recently though has he hit on a style and technique that engages people. Sometimes I have seen it in the last hour of an artist painting where it all comes together and the piece has that added magic that makes people love it.

I get the impression that Alan paints automatically. If he produces a terrible painting (which I'm sure he has in the past) he will talk about it in the same way as a masterpiece. Self effacing and modest, Alan is unlikely to be seen pulling a gimmicky stunt to gain publicity. This only makes me respect what he does even more.

He will, and is, gaining a reputation for just being a great artist rather than for any other superfluous reason. He lets the work do the talking which in the art world takes longer to build a reputation, but it is a method that will win much respect and admiration in the long term. The people that have bought his work know that they have made a discovery.
He points out an article in a recent magazine that lists him as being an artist to watch out for in terms of investment value. I didn't doubt it and think his work will never be this cheap again.

People in the art business will never normally say the "C" word. Lest they devalue something they are desperately trying to talk up. Even "Affordable" is sometimes frowned upon. The connotations with cheap are that it is nasty but I don't have any such reservation in saying it. Alans work is worth more than its cost. It is cheap. Peculiarities of the English language have given cheap a bad name, but by definition a luxury super car can be cheap even at £500,000 and in 10 years I am sure people will consider the prices paid for his work now are low.

Alan talks me through his work, he is inspired by the surroundings. The colour and textures are outstanding and he has urban to more pastoral landscapes up on the walls and stacked up against one another. The focus is Greater Manchester and Cornwall where he spends his holidays. These are increasingly turning into working holidays as the popularity of his work is taking off but he doesn't regret this.

Leaving the studio I felt I had met a true artisan, a man who would have painted in any century he was born. I have seen a lot of artwork and it is very rare to find work of this quality painted in oil with a pallet knife. It looks like a lot of fun and It almost makes me want to paint myself.

Alan's work is on display at Mooch art in the Triangle.

Buy Art Fair '09

I absolutely love art fairs. It's like the footie highlights where you only get to see the best bits from lots of games. The buy art fair at the Urbis is no different and last night I went to the preview night which is pretty much the same as any other time except the Cava is flowing and gallery owners are psyched up and fresh off the blocks to amaze you with their offering.

I did consider the fair, especially as I think there were some better deals going for late comers. The Triangle gallery is just 50metres away though and I just didn't think it worth it. There was a distinct lack of manchester galleries at the fair though and I wonder if others were thinking it just wasn't worth it either. That said, the fair had a some great work on display, I loved the work at Driftwood gallery, Castle art and Didsbury's very own Wendy Levy. We were also mightily impressed with an original Banksy and Phillipa squealed her excitement at seeing the original Antony Micallef from Comme Ca. This is the sort of artwork that the hollywood elite apparently collect (Brad and Angelina amongst others). One of my favorites was one from Mooch's own Simon Taylor. I saw it in his studio half finished. Its a landscape of a womans face taken from a 1970s porn film, nice.

I made jovial greetings with the organisers trying to redeem the fact I got a telling off last year for plugging my own gallery despite not having a stand there. It was a bit on the cheeky side but hey I run a gallery and I want to tell everyone else about it, the printed hand outs were a step too far though.

I also had a good chat with Wendy Levy, one of the established players in the Manchester art scene. I generally go and chat to anyone and often speak to other gallery owners. Sometimes the responses can be amusing, frosty or just downright rude. One gallery owner (no names) had a complete personality transplant when I turned from a potential customer to competitor in front of his eyes. I wasn't digging or involved in any kind of espionage but he may as well have challenged me to a duel. Alas, there was nothing I could do to turn his charm switch back on.

At the fair the 1st floor is where the bulk of the art is located and where the best galleries have set up. The second floor floor, in my opinion, starts to lose its way a little. It became clear that the not for profit organisations have set up there which means a few very stark and strange exhibition spaces more fitting of an alternative art fair than the Buy art fair. Phillipa was disappointed not to see the 3 animatronic heads by Nathaniel Mellors, did we totally miss it or was it not ready?

The range of art is wide and I think it covers most bases. It is unlikely you will go along to not find anything that you like. Having said that, I am a big fan of the affordable art fair in Battersea and next to this, it looks tiny. Manchester needs to start somewhere though and the Urbis is a great location in the heart of Manchester. It also has an amazing gallery called mooch just opposite. www.mooch-art.co.uk

Artist focus - Malcolm Croft

I met him 20 minutes late. I had been waiting at the opposite entrance to the mill feeling like a bit of a lemon. The security guard was eyeing me suspiciously, trying to suss out whether I was up to no good.
Malcolm came round the corner and said he had been waiting at the other entrance. We both apologized, an innocent mistake. We climbed the 4 flights to the studio floor of Vernon mill in stockport. I have been to dozens of old textile mills in the northwest but Vernon mill is in better shape than most. They all have a smell that is unique to old industrial buildings. Its kind of a fusty old wood/oily smell that I really enjoy in the same way I kind of like the smell of petrol (in small doses).
On the 4th floor the artists have all made an effort to display their work on the corridor walls. It all looked okay but I was here to see the work from one man alone.
Malcolm unlocked the padlock and led me into his small windowless studio. He brewed a cup of tea and we made small talk.
He is relatively new to painting and briefly tells me his story of how he was knocked of his bike 13 years ago and that left him with chronic back pain. It made him housebound and he had to give up his job as a freelance press photographer. With no formal training he realised he had a natural talent.
We talk through the paintings that are vivid and bright. With no natural light the studio doesn't feel that much worse for it. His paintings are all set within a window frame like wooden surround. Who needs windows anyway, Malcolm's view on the world is what he makes it.
He is frank and open, for someone who has only exhibited professionally for a couple of years he is remarkably clued up on the art industry. Despite what I first thought, he isn't an accidental artist and he is well aware of the pitfalls of the art industry.
His work is bold, simple but carefully considered. He uses oils and thickly applies them in technicolour. It's all still life and is a reflection of his role as a house husband. The table with pot of tea and plates set references family life. The table is set, the daily ritual about to commence. The coffee pot and lemon links to a sunday morning relaxing with the paper. With hints of Van Gogh the simplicity of his work is something that is homely, family oriented and in many ways comforting. Many of the objects are retrospective. The cornishware and coffeepot are memories from Malcolm's childhood in the 70s. For Malcolm these objects from his childhood evoke feelings of strong family bonds, a comforting and homely environment.
Meeting Malcolm is a good experience and he is a very easy guy to get along with. There is no unease, no pauses in conversation and no bullshit. There is an underlying confidence that says, "This is what I do, like it or not". His work comes from within and is very personal so when I met him for the 1st time commissions seemed impossible. He has since found that he can still find his own meaning in a commission.
I left the mill having been there about an hour longer than I intended. My car was ready and I was late for opening the gallery but I felt it was time well spent. If nothing else I've got a new respect for cars when cycling on the road.

Hot Hot Hot

Are we going to have one of the best summers ever? I can feel it in my bones. The papers have fascinating nuggets of information saying Today Oldham was hotter than Jamaica. For sweating bodies in Oldham it is hardly a great victory. I had 2 ozzies in the gallery today up for the weekend. I mentioned the weather and immediately berated myself for being a typical englishman.

Cycling into the gallery this morning there was a buzz in the air. The women are solar powered and everyone is looking beautiful. Everything felt right and the world sorted. On the train (with my bike) a spontaneous conversation broke out between the myself and the other guys sitting next to me. On a cold dark February morning with the windows steamed up, barely a word would have been said but the feel good day was too much to contain to ourselves. I could tell we all had to spout mindless stuff to reaffirm the fact that it really was a good day INDEED.

Views can change within the same day. Our love/hate relationship with heatwaves remind me of my Gran (bless her soul) where no day is ever the right bloody temperature. "Oooh isn't it hot, you just can't do anything" "Oooh is just too close isn't it" "It needs to rain, it does, but I don't like it when its raining."

The galleries are baking too. Have sympathy for Sophia in the triangle where the lovely light and bright space means she has to wear shades indoors and have a fan constantly blowing on her. Oldham st is cool though, a natural spot that makes winter electricity bills skyrocket also means without air conditioning its actually very pleasant now.
What has this got to do with art? Absolutely nothing. I just like talking about the weather. Damn it.

Painting above is called Sunflowers by Victoria Tsekidou and is currently on display at the triangle gallery.

Mooch Focus - Danny Cawley

On first glance the place is an outrageous mess. Its like a paint factory where a series of small explosions have gone off. Canvasses are laid out flat on the floor all in varying stages of drying and they cover most of the available space. Dannys studio is big though, it needs to be. This was my 1st visit to Danny Cawleys studio in east manchester. A room in an old mill that artists rent out because no one else could put up with the lack of heating. I entered slightly out of breath from climbing the 4 flights of stairs.
Stepping through the maze of canvasses on the floor and you start to see order in the chaos, beauty in the mess. The smell of paint is really strong, oil based, emulsion and spray paint cover the canvasses. The odd squelch of carpet is because of the water he uses in the process. This also explains why he work flat.
This is one of the great things about the artist Danny Cawley that is so far removed from the typical view of an artist. Sat next to the middle aged watercolourist sitting with easel en plein air, Danny looks, sounds and paints very differently. The art is abstract, bold and urban and is a reflection of Danny himself. A former graffitti artist he challenges what we consider to be "Fine art". It doesn't whisper, It shouts. It doesn't mince its words, It tells you as it is.
Going to the same school and growing up in the same neighbourhood as Liam and Noel makes me think that Manchester is a great breeding ground for creative brains. His swagger and manc accent says "I don't do art bollocks". I know what he means. He does it his way and he does it purely to get the best result. Tear up the rule book and paint how you want. If we always do what we've always done, we'll always get what we always gotten.
Danny takes me through the paintings that are stacked high all around his studio walls. He clearly loves what he does. He is borderline going full time but for an artist thats like stepping off the edge of a cliff and you are at the mercy of the fickle art market. I point out that Lowry alway held his job as a rent collector throughout his life even when he became well known.
I came away from the studio impressed, having selected some great work to display with the gallery.
I meet a lot of artists and see a lot of work. I look for the right attitude because to succeed as an artist you need to be mentally tough and damned determined. How else can you take being constantly judged in a few seconds by hundreds, if not thousands of people. So coming away from the studio I was impressed as much by his determination as by his art.
Danny perhaps arrogantly said he is a name to watch out for in the future. With most artists I would discount this as naive bull. But with Danny I believe he has the trousers to match his mouth. Watch this space.

Suits you sir

It's a scene only in dreams/nightmares. You turn up to work without your trousers or worse still, completely naked. This is the feeling I had last night, only less intense and I didn't break into a cold sweat.
I went to a young professionals networking BBQ. It was held in the courtyard of a solicitors and being my 1st time I have been hadn't a clue what to expect. Made up of mostly of accountants and solicitors there was a sea of smart shirts and dark suits. Most had shed the small strip of material tied around their neck to signal they were out of intense work mode and just into casual work mode.
Naturally I stuck out like a sore thumb. (Why do sore thumbs stick out I wonder). Jeans and trainers are my uniform now and I left smart stuff behind blue chips and corporations 2 years ago. For me I only wear suits for weddings and funerals and am glad of it.
The gallery is a relaxed and easy going place and a suit would give out the kind of signals that say serious, formal and worst of all, unimaginative. For the accountants and solicitors it shows they are responsible, reliable and professional, which is great for their business, but not for mine.
Standing out if you're an accountant, bad. Standing out when you run an art gallery, good.
Viva la revolution.

A busy gallery owner?

My Inlaws were up for the weekend. I gave them the tour of both galleries, which should have been a proud moment for me. It was capped by “Are you sure you don’t want me to bring you a paper or something”. Gutted. Coming from my mother in law she had obviously taken pity on me and felt that I can’t possibly have enough to do without her help. It left me trying to convince them that running a gallery doesn’t involve waiting for people to come to you all day.
Every word from that moment sounded hollow, fatuous and left me feeling like a schoolboy again. I was saying too much which only heightened the demeaning arch of her eyebrows. Keep it simple Smith. If you are late for work it sounds better if you stick to one reason rather than “the train was late and my mobile battery died and the dog ate my watch and and and”.
Anyone who runs their own business knows that if you wait for people to stumble your way, you ain’t going to last long. The nature of an art gallery is that you don’t have huge numbers of people coming through. But then you don’t need huge numbers because what we sell is higher value than the newsagents on the corner.
We are starting to trial Sunday openings at the triangle so this is a time when I need to take on staff because no one can work 7 days a week. Any extra time is spent searching the mills and art studios, going to degree shows and networking events. How else can I be a specialist in emerging talent?
Mooch art Oldham street is also named the “Gallery of dreams”. It’s on my business cards and makes people smile whenever they read it. My take on “field of dreams” isn’t because of a penchant for cheesy 80s films. I loved the phrase “If you build it, they will come” and they have and do come. Artists all over the world sent material to me, and the gallery really is a beacon for attracting people who paint. Every now and again, not often mind, I see an artist who makes my week or even year. An artist who blows my mind with their talent and who still hasn’t a clue just how many people would love their work if they knew about it.
Don’t get me wrong, for every diamond there are hundreds or thousands of lumps of coal. Recently I have founds a few diamonds and It leaves me with a sense of enormous well being.
The next exhibition should be very very interesting. If you come along to Oldham street you will be able to see these artists before they are officially unveiled.

So am I busy? The answer is very.

Art Critics. Worth their salt?

I really don't think I could be an artist. I could possibly gain some skills in applying paint to a canvas but that isn't what makes me want to stay on the other side of the creative spectrum.
What other job can you do where you work for years only for someone to judge your life and career in 3 seconds. The lives of many a creative are in perpetual turmoil resulting from ecstatic praise or crushing criticism. Sometimes fragile egos take a battering from the casual curt comment.
I have massive respect for these artists for who the vast majority, do it because they love it rather than for financial gain. To articulate their imagination as art is a process that fascinates me.
Thalia Allington-Wood has written a review of the opening of Mooch Art and Revolve Gallery in the triangle. Click Here. Generally positive but one of Revolve galleries artists received some criticism which is highlighted as all journos are adept at doing.
The question is whether art criticism can be constructive given the subjective nature. Can someone telling you they don't like Marmite be of any benefit to people who haven't tried it but love a tasty, nutritious, salty spread on their toast (My cheques in the post).
My feeling is that everyone's opinion is valid and the only way the gallery will get better is with feedback. I have mentioned in a previous blog that browsers who are positive about everything leave me a little lost. Smoke blowing or fence sitters are terrible for galleries especially if an artist isn't selling. Perhaps the worst criticism would be apathy, if people came to the gallery cocked their head to one side and sighed at how mundane it all was then I haven't done my job properly.
So art critics are needed just as all other customer feedback is needed. They are worth their salt but just take their comments with a pinch of it.

Just read a great article in the guardian by Jonathan Jones see below.
CLICK HERE

A popular do..

Christian from Barefoot wines raised his eyebrows in surprise after making his third trip downstairs to bring more bottles up, hustling through the crowds. We expected quite a few people to turn up but even I was left a little bewildered by the shear number of people that came and the shear amount of wine that was drunk.
120 bottles and over 220 cups later the official launch of Mooch art and revolve gallery was deemed a success. A big gallery means more art, more food, more wine, more everything. Scale it all up in a great location and suddenly I can see the artists getting giddy with excitement. With all that space and all those people I just didn't get round to speaking to everyone and maybe there were people who wanted to buy but just didn't know where I was so vowed to come back another time.
One of my 1st previews I spent with a red ring around my lips and grey teeth. I looked in the mirror that night and cursed the red wine and the fact that no one pointed out the fact I looked like a right numpty. Smooth Mike, very smooth.
I went for an eclectic mix of art, which is difficult to pull off and can often translate into being jack of all trades, master of none. This isn’t the case with the artwork hung in the new gallery In the Triangle though.
The best, most accomplished artists covering abstract, figurative, photography and landscapes were hung with a clear aim to have appeal to a broad range of tastes.
The event is now over and we have had some good coverage in the press but I guess its now onto the day to day gallery business. Until the next event that is.

Photography and art, Digital trickery?

I have had more than a few photographers approach the gallery in the past week and have recently taken on another 2. For some reason there has been a big influx from people who are all keen to show off/sell their images. I have to be the bad guy and tell them that their work is tough to sell and isn't valued much by the people that come into the gallery.
It begs the question why we don't appreciate photography the way we did even 5 years ago. Have we seen too many mind blowing images that have desensitised our appreciation. I love photography, take photos myself and really rate the good stuff as art in its own right.
Digital cameras have opened up the medium to anyone and everyone. It has lowered the barriers and everyone is a photographer who can instantly show the world their work. There are billions of images out there and online imaging websites like FLICKR show that the standard is high. Worse for photographers is that if they do have a unique style, it is relatively easy to copy. By contrast the painter takes years to hone their skill with a paintbrush, the strokes akin to your own handwriting that are extremely difficult to reproduce.
Cameras with incredible spec are cheaper than they have ever been. There has never been such a level playing field in the world of photography. In many ways photography is going the way of the music industry where there is a proliferation of images that devalues each and every photo.
There is also the question of image manipulation. How much is too much? Where should we draw the line between photography and digital art? Magazines are being questioned for thinning and airbrushing their models but it is also prevalent in landscapes. The pristine white sand and perfect blue sky in "Wanderlust" is unlikely to be straight out of the camera. Colour will be boosted, distractions eliminated and you have to question how real the images you are seeing are.
The truth is that photographers have always used artistic license in their work. Before photoshop they would use different shutter speed, aperture, coloured filters or lighting. Post capture they would use different methods of developing the film and for example use silver selenide to give it sepia toning. I have to hold myself in check before I bore people too much about this stuff.
The fact that this manipulation has been taken to a new level doesn't make the images less worthy. I think its a great liberation where you can have anything you want. It also opens up the possibilities that have previously only been open to artists of the painterly kind. Work with photoshop gives that point of difference, that advantage over other photographers that may be thinking they can copy the style.
And this brings me to the photographers that are represented by Mooch art. We only show artwork that hopefully people recognise are by exceptionally talent people. This usually involves digital work that gives them the edge. If you want documentary images then watch the news. If you want outstanding art, come to mooch.