TRACING TRACKS – The Master and his Protege. Continuing until end of January 2019.
The late William Zimmer arts critic New York Times wrote about Kingerlee’s art as not one that moralizes “it is witness to a life”, that at age 70 is renewing itself. A photograph of Ezra Pound is pinned up in the Kingerlee studio. Pounds best known exhortation to artists of his generation was ‘make it new’. It still reverberates… in the artist, now 82 years of age. Again, in Pounds words “Artists are the antenna of the race. John Kingerlee instinctively knows this, to keep himself tuned as both a fit receptor and transmitter, he is disciplining his life to increase his insight. This involves keeping himself and his environment clean (it shows itself in small ways, everyone removes his shoes when entering his house). More involving tasks – the rote procedure of making a grid, perhaps, as well as performing his prayers at regular intervals, have the aim of acquiring constancy. Increasing spiritualty in himself helps him recognise it in others.”
John surely recognises this in Gary Robinson, the increasingly successful Longford based artist, who has become his protégé and eagerly collected by those with smaller pockets than followers of Kingerlee. With striking humility, the Master Kingerlee calls him “a new friend, someone younger – we can learn from each other.”
One of Robinson’s contemporaries, artist and friend David Newton, says this artist “returns again and again to the importance of an innocence being reflected in his art. This innocence he speaks of is much like how sounds are made as music is played. Imagine loose and unclear ideas, streaming out a trumpet across a time and place just like notes floating around as a jazz player riffs along in a relaxed manner with a set of bleating sounds. This is the expanding logic and directionless sense of movement that Robinson says he seeks in his art.