'LIKE FATHER LIKE'

'LIKE FATHER LIKE'

Paul Conneally

April 2017

'Prophylactic' - Paul Conneally - Cannes - 2016

'PROPHYLACTIC'
Paul Conneally
Cannes 2016

You can find 'PROHYLACTIC' a found splacist artwork by Paul Conneally in the old port of Cannes:

Our Painted Soles

“Our painted soles, walking or running with no regard to where they land down a long roll of paper” - Paul Conneally

from ‘Involuntary Painting 1 New Parks : New York’ Millree Hughes & Paul Conneally and people from New Parks community with and for Soft Touch Arts and New Parks Library, Leicester, UK

Surveillance - Paul Conneally 2008

still from 'Surveillance' Paul Conneally 2008

Surveillance comes out of INVIGILATOR : DIGBETH the 5th in the INVIGILATOR series conceived by artists Paul Conneally, Nikki Pugh and Kev Ryan.

The piece features the text of a poem which is a direct transcript taken by Paul Conneally as he heard it of INVIGILATOR : DIGBETH participant artist Harry Palmer in the discussion workshop which formed part of INVIGILATOR : DIGBETH and took place after the Invigilators had returned to VIVID art gallery in the heart of Birmingham's Digbeth area. The sound track is made from a snippet of Harry saying the word ' surveillance ' combined with the ambient sounds of the VIVID space that the artist led discussion was taking place in.

The soundtrack contains backmasked material that may reveal hidden messages to some listeners.

Producer Paul Conneally
Audio/Visual sound, color
Language English

Credits

Camera: Paul Conneally
Sound: Paul Conneally
Starring: Harry Palmer

Curious Love Splash

Curious Love Splash

world summit to bring you weapons

a big fan not just of peace

these women never die grubby

once upon a future true heroes

finding joy in the gathering

curious love splash

blood and conservation make a bright ballet

seasonal monotone delights

poetic train giving tourists new voice

hand in hand a biting of words

Paul Conneally

11th april 2005

this shreadline piece was originally entitled 'a biting of words'' it was created out of cut up headlines from 'culture' a magazine funded by the uk arts council given away with tyneside newspaper 'the journal'

the artist picked his copy up in the swallow hotel newcastle-upon-tyne

the tuesday after easter 2005

Kerb and Tyre Mark - The Involuntary Painting 1 New Parks : New York Group April 2015

The collating / collaging of Colin Murphy and Paul Conneally's long series of photos of the IP kerb and tyre mark by the Involuntary Painting 1 New Parks : New York group and we are back with John Cage and Robert Rauschenberg and their 'Automobile Tire Print - 1953' where Cage made a voluntary tire print for Rauschenberg by driving a car with paint on its wheels along a strip of stuck together sheets of paper - our tyre mark was involuntarily made by some driver or another and spotted by Colin Murphy opposite New Parks Library.


'Automobile Tire Print' Robert Rauschenberg 1953

'Involuntary Painting' is a term first coined in this context by New York based artist Millree Hughes and further developed by Hughes with British artist and poet Paul Conneally.

'Imagine an alien lands on Earth with all the knowledge of modern painting but never having seen one. What might they mistake for a painting as they walk around?'

'Involuntary Painting 1 New Parks : New York' is a project / work conceived by Hughes and Conneally for and with Soft Touch Arts,New Parks Library and local community adults and children in Leicester UK. The project received support from Arts Council England and Leicester City Council.


Members of the 'Involuntary Painting 1 New Parks : New York' work to collage the Involuntary Painting photo series of a kerb and tyre mark by Paul Conneally and Colin Murphy

Leicester April 15 2015

SAVAGE NUNEATON - Colin Murphy 2015

'SAVAGE NUNEATON' - Colin Murphy 2015

'SAVAGE NUNEATON' is a frottage piece by Colin Murphy made as part of Involuntary Painting 1 New Parks : New York in New Parks, Leicester.

The piece is one of a number of pieces made by the IP1NPNY group during a session where they met through artists Millree Hughes and Paul Conneally, the work of Max Ernst, then explored and identified 'involuntary paintings' in the area around Aikman Avenue shops in New Parks, near New Parks Library where the group is based, then making frottage, rubbings, of and from them.

The works were made on the day before King Richard III was reinterred in Leicester Cathedral and are collectively called 'The King Richard III Municipal Services Memorial Collection'. Many of the memorial collection feature sewerage manhole covers and other service access plates.

It is a voluntary artwork out of a feature initially identified as an 'involuntary painting'.

The New Parks community involuntary painting group is linked with a group of artists in New York who exchange comments and encouragement with them via the internet.

Involuntary Painting 1 New Parks : New York is a project conceived by artists Millree Hughes (New York, USA) and Paul Conneally (Loughborough, UK) with and for Soft Touch Arts and New Parks Library with support from Arts Council England.

Note: Involuntary Painting is a term invented and coined for use in this context by Millree Hughes and further developed by Hughes with Paul Conneally:

'If an alien landed on Earth programmed with all the knowledge of modern art and painting what might they as they wandered around mistake for a painting?'

These mistakes are what Hughes and Conneally call 'involuntary paintings'. Surfaces and objects marked by time, mould, human and natural activity as stand-ins for the pigment, ground, support etc of voluntary painting, voluntary art.

April 2014

Voluntary Victim Of An Illusionary God

Voluntary Victim Of An Illusionary God

Involuntary Painting

Paul Conneally

Whitwick 2014

Sugar Criminals

Sugar Criminals

Paul Conneally & The New Parks Poetry Machine

New Parks Library, Leicester, 2014

Sugar Criminals is a shreadlines piece - headlines from a particular newspaper on a certain day are cut up and put in a bag. Each line of the poem is written by picking out five bits from the bag and using at least three. The shreadlines process was developed by Paul Conneally in 1999 and though different comes out of Tristan Tzara method for creating a Dadaist poem:

To Make A Dadaist Poem

Take a newspaper.

Take some scissors.

Choose from this paper an article of the length you want to make your poem.

Cut out the article.

Next carefully cut out each of the words that make up this article and

put them all in a bag.

Shake gently.

Next take out each cutting one after the other.

Copy conscientiously in the order in which they left the bag.

The poem will resemble you.

And there you are — an infinitely original author of charming sensibility

even though unappreciated by the vulgar herd.

TristanTzara 

Yes 'the poem will resemble you'!

Dud Up Your Dash

England's army of princes

I'm feeling champion stick it

Dud up your dash

You life cover winger

Free broadband locked in cashpoint

It's still over 50s Britons

'Dud Up Your Dash' is a Shreadlines piece created out of cut up SUN headlines by the New Parks Poetry Machine Crew with artist poet Paul Conneally for and with Soft Touch Arts and Leicester City Libraries.

Shreadlines are created by cutting up headlines from a particular publication and putting them into a bag.

Each line of a shreadline piece is written by randomly picking five pieces of cut up headlines from the bag then using three or more of them to construct a new line. Any not used are put back in the bag.

The shreadline process was devised by Paul Conneally in 2000 where he worked with members of the public walking through Loughborough Market to make Easy Mother Expletives.

Shreadlines is a chance versus causality DADA type process that Conneally encourages all to experiment with as we approach 100 Years of DADA explorations (2016)

The Importance of Being "DADA"

Christo and Duchamp - Paul Conneally 2012

THE IMPORTANCE OF BEING "DADA"

Marsden Hartley 1921

We are indebted to Tristan Tzara and his followers for the newest and perhaps the most important doctrinary insistence as applied to art which has appeared in a long time. Dada-ism is the latest phase of modernism in painting as well as in literature, and carries with it all the passion for freedom of expression which Marinetti sponsored so loudly in his futuristic manifestos. It adds likewise an exhilarating quality of nihilism, imbibed, as it is said, directly from the author of Zarathustra. Reading a fragment of the documentary statement of Dada-ism, we find that the charm of the idea exists mainly in the fact that they wish all things levelled in the mind of man to the degree of commonplaceness which is typical and peculiar to it.

Nothing is greater than anything else, is what the Dada believes, and this is the first sign of hope the artist at least can discover in the meaningless importance which has been invested in the term ART. It shows best of all that art is to betake itself on its own way blandly, despite the wish of its so ardent supporters and suppressors. I am greatly relieved as an artist, to find there is at least one tenet I can hold to in my experience as a useful or a useless human being. I have always said for myself, I have no office, no obligation, no other "mission", dreadfullest of all words, than to find out the quality of humor that exists in experience, or life as we are entitled to call it. I have always felt the underlying fatality of habit in appreciation, because I have felt, and now actually more than ever in my existence, the fatality of habit indulged in by the artist. The artist has made a kind of subtle crime of his habitual expression, his emotional monotonies, and his intellectual inabilities.

If I announce on this bright morning that I am a "Dada-ist" it is not because I find the slightest need for, or importance in, a doctrine of any sort, it is only for the convenience of myself and a few others that I take up the issue of adherence. An expressionist is one who expresses himself at all times in any way that is necessary and peculiar to him. A dada-ist is one who finds no one thing more important than any other one thing, and so I turn from my place in the scheme of expressionist to dada-ist with the easy grace that becomes any self-respecting humorist.

Having fussed with average intelligence as well as with average stupidity over the various dogmatic aspects of human experience such as art, religion, philosophy, ethics, morals, with a kind of obligatory blindness, I am come to the clearest point of my vision, which is nothing more or less than the superbly enlightening discovery that life as we know it is essentially a comic issue and cannot be treated other than with the spirit of comedy in comprehension. It is cause for riotous and healthy laughter, and to laugh at oneself in conjunction with the rest of the world, at one's own tragic vagaries, concerning the things one cannot name or touch or comprehend, is the best anodyne I can conjure in my mind for the irrelevant pains we take to impress ourselves and the world with the importance of anything more than the brilliant excitation of the moment. It is thrilling, therefore, to realize there is a healthy way out of all this dilemma of habit for the artist. One of these ways is to reduce the size of the "A" in art, to meet the size of the rest of the letters in one's speech. Another way is to deliver art from the clutches of its worshippers and by worshippers I mean the idolaters and commercialists of art. By idolaters I mean those whose reverence for art is beyond their knowledge of it. By the commercialists I mean those who prey upon the ignorance of the unsophisticated, with pictures created by the esthetic habit of, or better to say, through the banality of "artistic" temperament. Art is at present a species of vice in America, and it sorely and conspicuously needs prohibition or interference.

It is, I think, high time that those who have the artistic habit toward art should be apprised of the danger they are in in assuming of course that they hold vital interest in the development of intelligence. It is time therefore to interfere with stupidity in matters of taste and judgment. We learn little or nothing from habit excepting repetitive imitation. I should, for the benefit of you as reader, interpose here a little information from the mind of Francis Picabia, who was until the war conspicuous among the cubists, upon the subject of dada-ism.

"Dada smells of nothing, nothing, nothing.It is like your hopes: nothing.Like your paradise: nothing.Like your idols: nothing.Like your politicians: nothing.Like your heroes: nothing.Like your artists: nothing.Like your religions: nothing."

A litany like this coming from one of the most notable dada-ists of the day is too edifying for proper expression. It is like a window opened upon a wide cool place where all parts of one's exhausted being may receive the kind of air that is imperative to it. For the present, we may say, a special part of one's being which needs the most and the freshest air is that chamber in the brain where art takes hold and flourishes like a bed of fungus in the dark.

What is the use, then, of knowing anything about art until we know precisely what it is? If it is such an orchidaceous rarity as the world of worshippers would have us believe, then we know it must be the parasitic equivalent of our existence feeding upon the health of other functions and sensibilities in ourselves. The question comes why worship what we arc not familiar with? The war has taught us that idolatry is a past virtue and can have no further place with intelligent people living in the present era, which is for us the only era worth consideration. I have a hobby-horse therefore—to ride away with, out into the world of intricate common experience; out into the arena with those who know what the element of life itself is, and that I have become an expression of the one issue in the mind worth the consideration of the artist, namely fluidic change. How can anything to which I am not related, have any bearing upon me as artist? I am only dada-ist because it is the nearest I have come to scientific principle in experience. What yesterday can mean is only what yesterday was, and tomorrow is something I cannot fathom until it occurs. I ride my own hobby-horse away from the dangers of art which is with us a modern vice at present, into the wide expanse of magnanimous diversion from which I may extract all the joyousness I am capable of, from the patterns I encounter.

The same disgust which was manifested and certainly enjoyed by Duse, when she demanded that the stage be cleared of actors in order to save the creative life of the stage, is the same disgust that makes us yearn for wooden dolls to make abstract movements in order that we may release art from its infliction of the big "A", to take away from art its pricelessness and make of it a new and engaging diversion, pastime, even dissipation if you will; for all real expression is a phase of dissipation In itself: To release art from the disease of little theatre-ism, and from the mandibles of the octopus-like worshipper that eats everything, in the line of spurious estheticism within range, disgorging it without intelligence or comprehension upon the consciousness of the not at all stupid public, with a so obviously pernicious effect.

"Dada is a fundamentally religious attitude analogous to that of the scientist with his eyeglass glued to the microscope," Dada is irritated by those who write "Art, Beauty, Truth", with capital letters and who make of them entities superior to man "Dada scoffs at capital letters, atrociously." "Dada ruining the authority of constraints, tends to set free the natural play of our activities." "Dada therefore leads to amoralism and to the most spontaneous and consequently the least logical lyricism. This lyricism is expressed in a thousand ways of life." "Dada scrapes from us the thick layers of filth deposited on us by the last few centuries." "Dada destroys, and stops at that. Let Dada help us to make a complete clearance, then each of us rebuild a modern house with central heating, and everything to the drain, Dadas of 1920."

Remembering always that Dada means hobby-horse, you have at last the invitation to make merry for once in our new and unprecedented experience over the subject of ART with its now reduced front letter. It is the newest and most admirable reclaimer of art in that it offers at last a release for the expression of natural sensibilities. We can ride away to the radiant region of "Joie de Vivre", and find that life and art are one and the same thing, resembling each other so closely in reality, that it is never a question of whether it shall or must be set down on paper or canvas, or given any greater degree of expression than we give to a morning walk or a pleasant bath, or an ordinary rest in the sunlight.

Art is then a matter of how one is to take life now, and not by any means a matter of how the Greeks or the Egyptians or any other race has shown it to be for their own needs and satisfaction. If art was necessary to them, it is unnecessary to us now, therefore it is free to express itself as it will. You will find, therefore, that if you are aware of yourself, you will be your own perfect dada-ist, in that you are for the first time riding your own hobby-horse into infinity of sensation through experience, and that you are one more satisfactory vaudevillian among the multitudes of dancing legs and flying wits. You will learn after all that the bugaboo called LIFE is a matter of the tightrope and that the stars will shine their frisky approval as you glide, if you glide sensibly, with an eye on the fun in the performance. That is what art is to be, must come to in the consciousness of the artist most of all, he is perhaps the greatest offender in matters of judgment and taste; and the next greatest offender is the dreadful go-between or "middleman" esthete who so glibly contributes effete values to our present day conceptions.

We must all learn what art really is, learn to relieve it from the surrounding stupidities and from the passionate and useless admiration of the horde of false idolaters, as well as the money changers in the temple of success. Dada-ism offers the first joyous dogma I have encountered which has been, invented for the release and true freedom of art. It is therefore most welcome since it will put out of use all heavy hands and light fingers in the business of art and set them to playing a more honourable and sportsmanlike game. We shall learn through dada-ism that art is a witty and entertaining pastime, and not to be accepted as our ever present and stultifying affliction.

From Adventures in the arts: informal chapters on painters, vaudeville and poets. New York: Boni and Liveright, 1921. Pages 247 - 254.

Dead Whale's Teeth

'Dead Whale's Teeth' - Paul Conneally

Dead Whale's Teeth is a shreadlines piece.

Shreadlines are created by the artist poet cutting up headlines from a particular publication and putting them into a bag.

Each line of a shreadline piece is written by the artist poet by randomly picking five pieces of cut up headlines from the bag then using three or more of them to construct a new line. Any not used are put back in the bag.

The shreadline process was devised by Paul Conneally in 2000 where he worked with members of the public walking through Loughborough Market to make Easy Mother Expletives.

Easy Mother Expletives

outrageous crime victims do plastic

over the gym-shy marriage

before you put uniform in a bottle

pupils win hollywood sick boy

quite advanced elephant dung and seaside u-turn

right time to sunday music system

executive pension plan options easy as print

you go in bank friday

liar at college is just heroine

unworkable ex-prisoners play comfort

rest help us plant wednesday show

grrrl power – thrown out spare time

remarkably easy mother expletives deleted

grass becomes the woodstock

come magnum write off fans to be

film under attack before gm foods

the best knew some were check-a-go-go

A ‘SHREADLINES’ piece by Paul Conneally, Loughborough Market Place 2000

"passers-by are asked to pick five pieces of cut-up newpaper text out of a bag at random
then to make a headline or shreadline using three or more of the pieces
then to stick it to a piece of found cardboard
the finished piece is both a literary work and a visual art piece
it should be read out loud with a strong rhythm and a good pace
preferably in a public space like a busy market place or town square
go and do it now
or go and make one in your town centre”

Paul Conneally

http://burnthewater.wordpress.com/2013/09/27/easy-mother-expletives/