1. London by light

Tate Britain, 3 May 2017

Today I went to Tate Britain to see the David Hockney exhibition. He is brilliant, iconic and part of our world, but I found the show disappointing as regards the actual presence of the paintings. Almost every painting felt no better than its reproduction. The best buzz for me, however, was in Hockney’s ipad works.

And in answer to Langdon Jones’s question about the strength that he’s perceived in the later Hockney landscapes I said this: ” Yes, Lang. And my favourites of his early works too were there, but here is exactly my argument. We know the works in reproduction and the quality of reproduction is excellent, the best our present world can produce. It’s almost as though this artist knows exactly how to construct a strong sense of presence for the transition of a work into reproduction. Even the hugeness of size, didn’t for me, make the work stronger than in its secondary life.”

As regards the presence of paintings that shine stronger in their originals, I found some in “Queer British Art 1861 – 1967″. For instance, Laura Knight’s “Self Portrait” projected right across the room. It’s a perfect example of the real work being way stronger than any reproduction.

And each of the paintings by Edward Burra, was more vibrant in real life than its image in books.

Also I was quite enchanted by Cerith Wyn Evan’s neon light installation in the long Duveen Galleries.

Tate Britain, Cerith Wyn Evans aa

Eastercon 2017, 13 April 2017

This lovely Eastercon in Birmingham, 13 April-17 April 2017, was put together at short notice by Steve Cooper and his committee and was amusingly therefore called “Innominate”. I very much enjoyed participating as their Artist GOH. Here is a partial view of my exhibition space in the art room.

Also if you scroll down to the exhibition last December at the Camden Image Gallery, you can see that the last painting in the triptych is unfinished. It didn’t yet have the big red “a” that we can see in the enclosed photo and below.

Eastercon 2017 art show cc

And here, on its own, is the painting titled “Cliff”, end of the triptych.


Gainesville Exhibition, 7 March 2017

Here is the poster for my exhibition from the 7th of March to the 17th of March, 2017, in Gainesville, Florida.

7 March 2017 Gainesville Etchings

The Garden. 22 February 2017

The attached painting, “The Garden”, is actually artwork I prepared for Edward Ka-Spel and Amanda Palmer’s new album, “I can Spin a Rainbow”.

17 Feb 700 ppi_edited-1

36 inches by 36 inches (915 x 915 mm).

They will be touring this album from 17 May 2017 Boston, and several more east coast dates. Then Europe, 31 May 2017 Warsaw, Munich, Leipsig, Prague, Hamburg, Antwerp, Amsterdam, Paris, London, Vienna. Their music is weird and diflucan 200mg wonderful. Check it out.

Also here’s a detail that might be for the front:

17 Feb front aa

Another painting from the past. 23 December 2016

This painting is from 1979: “At the End of the Mind”, 1190 x 1130 mm. And it makes me see that I’ve been working variations on my theme of a “Darkening Garden” for a long time. 37 years in fact.


Austere Instagram. 19 December 2016

Instagram has been given to us to use with an easy, light touch. But I have decided to use it differently: “Details from paintings and etchings mostly filled with a sense that we are living in a darkening garden.”

And just to explain that when I first opened Instagram half a year ago I didn’t have a smart phone. I could look at other people’s entries. Now that I have an iphone I can post things but *not* on the first address, hence I needed to switch my last and first names around and actually I prefer *clutejudith* anyway.

More work at Camden Image Gallery. 18 December 2016

Playing with the notion of the number 3 standing for the years she has run this gallery, Elena Chimonas held an exhibition opening on the 3rd of this month, at her Camden Image Gallery. A group of her artists produced triptychs for the event. Here is my contribution.


The over-title is “Night and Silence” and the central painting is also titled thus. However the flanking paintings are titled, on the left, “Cavé” (as in an old term for Beware), and on the right, “Valé”. The pricing is in GBP. Each painting is 800, but the three as a triptych cost 1600 (making it three for the price of two). And each is sized 805 x 655 mm.

Also Elena needed to take down all info on her site regarding exhibitions earlier this year, so here’s a reference to what mine was like.



And if it’s hard to read from the top image here’s the wording. “Clute’s work at the Camden Image Gallery is mostly recent, though there are some threads of connection back to the first Darkening Garden exhibitions in Austria and the Czech Republic (2011 – 2013). Etchings and paintings continue to present painterly arguments about how it feels to be a human animal living deep within our history on this planet.”

Another painting from the past. 26 November 2016

Here’s another painting from from my records. It is from 1979 and titled “Bond”.

730 x 890 mm

730 x 890 mm

Making an archive of sorts in Facebook. 25 November 2016

Since June this year I’ve been putting up a work, painting or etching, each day on my Facebook page. I’m now in the midst of a stretch of paintings. Here is today’s. It’s a reference to David Hockney with one of his dogs. It dates from 1995.

Progress of Anansi no.4

Progress of Anansi no.4

Changing an old etching. 16 September 2016.

One of the exciting things about etching is that, if an artist is ready to do battle, a plate can be reworked quite considerably. Here’s one from ten years ago. It was called “An Age of Man”, and I had made out of it, an edition of 20.


In the last few days I spent quite a bit of time going through various stages. Soft ground, aquatint, and some strategic burnishing. Now when I ink the plate and cheapest uk viagra crank it through the press, this is what I get:


It is titled “Mooncalves.”

Update. 2 September 2016

Summer’s span has gone all too soon. The absence of news here in words is basically good, though. The exhibition at Camden Image Gallery in May was a happy affair as I’ve said before, generally meeting old friends and selling lots of work. It was just the way an exhibition should be. Then Brexit happened. That was depressing and dampened the spirits of all around me in London. All I could do was put my head down and get on with work. One commission is for Amanda Palmer and Edward Ka-Spell. They have a new album coming out in the spring and I’m painting the cover. The album is provisionally called “I Can Spin a Rainbow” and it is really quite dark subject matter. Just my sort of thing. I can’t give a preview yet, but I will when I can.

Another etching. 4 August 2016

An etching recently pulled at the workshop: “Save Us”.

Save Us

Another etching. 10 July 2016

These days I’ve been putting up a range of etchings on my facebook page. Here’s one. It’s titled “Sunrise”.


New etching, sampling Rodchenko. 20 June 2016

Here’s a new etching, 6 inches square, where I’m borrowing from Rodchenko at the top of the composition. The woman’s face appeared as I did some sketching for an updated version of Spider Woman. Now it’s called “Angel”.

Sampling Rodchenko etching

Mathew Downward took some weird and wonderful pics for me. 12 June 2016

Mathew Downward took some weird and wonderful pics for me at the opening last month. Here for instance is reflections on an etching called “Are you together?”

Are you together? plus

And another taking liberties with gravity:

Mathew's brilliant compositon

And Krishna looking at some of the dark prints. (Mathew’s way of slanting sideways works well, I think.)

Krishna looking at dark etchings

And a straight-on pic of me talking, and gesticulating.

Judith talking

A selection from John Lifton-Zoline’s pics, 7 June 2016

My dear friend, John Lifton-Zoline, has sent over a hundred photos for me to sift through. Firstly, yours truly wearing my jokey wooden tie talking to Natalie Moorcock, with back view of Anne Witman.

Judith with Natalie Moorcok and back of Anne Wittman

John with Sira and Sophie.

John with Sira and Sophie

View from the stairs.

view from the stairs_edited-1

Middle part of the gallery.

middle part of the gallery

Towards the front with Eddie Campbell looking at my array of doubles.

towards the front of the gallery

Front room.

front room

Jake Tilson and Helen Manning Clark

lifton 7

Pamela Lifton-Zoline, John Urling-Clark, Nick Clay and Di Clay.

Pamela Zoline, John Urling-Clark, Nick and Di Clay

Another quick note, 23 May 2016

I’m still flying high with happiness of the show. I haven’t yet got the link that John Lifton Zoline will send showing the buzz of the opening party, but I can at least, at this moment, pop in a few pics of when baby Ash came with Amanda Palmer and Neil Gaiman.

18 May 2016 Ash and Amanda and Neil at my show aa

18 May 2016 Ash and Amanda
18 May 2016 one corner of the gallery_edited-1

Time only for a quick note, 17 May 2016

Last Thursday (12 May 2016) many friends, some I haven’t seen for years, came to the Camden Image Gallery, 174 Royal College Street, for the opening of my “Darkening Garden” exhibition. I was more happy than I can say. The gallery is beautiful. The works are well hung and there are several red dots. Tomorrow, Wednesday, late afternoon we take it down.

John Lifton-Zoline took over a hundred pictures for which I will send a link soon, but in the meantime I’ll drop in here just one image that I myself managed. It is of an old friend, John Urling Clark, and by chance it catches the lovely Elena Chimonas, managing director of the gallery, striding forward.

12 May 2016 cc John Urling-Clark

Another Painting, 7 March 2016

Some of the paintings to be hung in my show next May will be quite small. This one, “Inherent Gaze”, for instance, is only 640 mm by 538mm.

Inherent Gaze mk4

If you think in terms of inches that is only 25 inches tall.

The show “Darkening Garden” will have about 15 paintings and over 50 framed limited edition etchings at the Camden Image Gallery, 13-18 May 2016.

Latest painting, 27 Nov 2015

The Mysteries aaa

This painting, The Mysteries, has elements I can’t quite explain. It could be that I’m delving into the world of complex relationships revolving around the mannequin as used by artists. When is the image we look at a stand-in for a real person? That’s a tricky question. Certainly I very much enjoyed the exhibition last year at the Fitzwilliam in Cambridge: Silent Partners – Artist and Mannequin from Function to Fetish.