JONATHAN NEWDICK


'I don't make drawings of things — I make drawings about things.'

I worked for some years as a designer in Fleet Street, and later as a typographer and book designer, before turning to drawing and printmaking in the 1990s. Although I use a variety of media my work is almost invariably on paper and I have always described it as 'drawing'. In recent years I have turned my attention to writing (often combined with etching) and have become increasingly interested in the realtionships between word and image, yet, even when I write, I still regard it as a discipline of drawing.
    Although much of my work is experimental (graphite transfer, solvent transfer), drawing, whether in pencil, pastel, pen and ink or silverpoint, remains the key element and I am constantly looking to reduce the number of tools at my disposal, often shunning colour and producing as much as I can with as little as possible.
    Now, a few words about this web-site.
In 2010 in an interview with the German international broadcaster Deutsche Welle, David
 

Gelertner argued for an anti-internet movement. As Gelertner is professor of computer science at Yale University it seemed likely that he might be worth listening to.
    While I'm not sure I agree with his argument for a Luddite movement against the Internet, I do agree that the Internet, and web-sites in particular, are in danger of losing the view of a world outside their own domain. So often web-sites seem bound up in their own cleverness to the detriment of any wisdom that may be contained within them.
    For this reason this site is almost wholly non-interactive. The one concession to web site convention is the ability to click on any image to enlarge it. Apart from that it is as close to a sheet of paper as is possible within this medium and anyone wanting further infomation can email me by clicking on Contact below.
    A wide selection of works, both drawings and monoprints is currently on view at Kevis House Gallery in Petworth.
    

Jonathan Newdick, September 2016



"An artist who writes well is a rarity in itself. But a writer who is an excellent artist and who uses his drawings and his imagination with words to create a single work like this volume is indeed doing something that is not just unique but creates a significant innovation for the arts. For those of us who have known and admired Jonathan Newdick's artistic skills for many years, his creation of this singular work is no great surprise. In reality, it stands as a further extension of his gifts, promising great and rewarding pleasures. This book offers the dual delights of visual excellence and captivating story telling. Anyone fortunate enough to have this volume is assured immediate joy and endless contemplation."

Estelle Sosland, ex-Chairman of the Board of Trustees, the Nelson-Atkins Museum of Art, Kansas City, USA, writing the foreword to Thirty Very Short Stories, published in 2009.
 


"Jonathan Newdick is an artist who deserves to be better known. Based in Petworth, he is consistently attracted to the surrounding landscape – although his art frequently extends into other areas, both geographical and thematic. All of Newdick's work blends an obvious technical ability – whether his trademark skills of draughtsmanship or his bold use of print media – with an intelligent insight into his subject matter. Unsurprisingly, he is someone with an informed interest in the great artists who have trodden his patch – Turner and Constable – yet his drawing style, in particular, is uniquely his own. Like his major forbears, though, he is a thoughtful interpreter of landscape, with the passing of time emerging as a consistent theme in his work. Fittingly, he has worked on a number of projects in connection with Petworth House, which holds the National Trust's most important art collection, and is an artist whose work is both instantly engaging and resonant with meaning."

Andrew Loukes, Curator of Collections and Exhibitions, Petworth House, National Trust, formerly Curator of Fine Art, Manchester City Art Gallery, writing on the occasion of my first exhibition at Kevis House Gallery, Petworth.


"Time off 1 is the best thing I have read for a long time. It is funny, tragic, poetic, gripping, moving and visually stunning all at the same time. The generosity and honesty with which you write are rare attributes; and the fact that you are not (I feel) writing for an audience is equally enthralling. I am extremely pleased that you 'don't know how to write' because it lets you write in your very own (brilliant and immediate) style, maybe not entirely orthodox but all the better for that. If you ever take a 'creative writing course' I'll shoot myself, or you, or probably both, because it would destroy a truly beautiful thing." 

An extract from a letter from David Coke, FSA, historian of the pleasure gardens of Georgian London, after he had read the proofs of Time off 1, the first volume of a book of travel diaries to be published in 2016. He need have no fear of my getting involved with a 'creative writing course'.
 



Ca' d'Oro, Venice

Black and sepia inks on paper
200 x 240 mm

Log basket

Pencil and ink on paper
250 x 200 mm

Fishing nets at Porto di Malamocco

Charcoal and chalk on two sheets of paper
320 x 480 mm


Venice: the Salute, night

Black ink, charcoal, chalk and gouache on paper
200 x 250 mm

New red shoes

Pencil and coloured pencil on paper
315 x 210 mm

Drawing after Rubens 'Study for the circumcision', British Museum

Graphite and brown chalk on paper
305 x 320mm


Untitled (2085)

Silverpoint
370 x 265mm

Portrait of Graham

Silverpoint
370 x 265mm

Untitled (2086)

Silverpoint
370 x 265mm


Time off 1

The first volume of travel diaries and photographs which is referred to by David Coke in the extract above right. The book is case-bound with 192 pages. Format: 260 x 198 mm. Printed in England by The Lavenham Press.
The front dust jacket photograph shows part of the extensive new brickwork on San Servolo on the Venice Lagoon with the campanile of San Marco rising through the haze in the distance.

Time off 2

The second volume of travel diaries. Specification as 'Time off 1'.
The front dust jacket shows a detail of a locomotive of a Deutsche Bahn Inter City Express (ICE) in the early morning sunlight at Hannover Hbf.

Time off 3

The third volume of travel diaries. Specification as 'Time off 1'.
The front dust jacket photograph shows a briccola on the Venice Lagoon at Malamocco.


Barlavington barn interior

Pencil on paper
510 x 770mm
Private collection

The handwritten text reads:

Sliding back the big wooden door and the low sun throws a great shining rectangle across the floor. As you walk in you feel you should be making the sign of the cross. Not as the substitute footballer sent on in the closing minutes ­­­— 'Please God let me score a good goal [make a good drawing]' — but because such silent space seems to say something of the hope of heaven — if heaven is something that's possible to hope for. It says this to me more clearly than most churches. And more, probably, than any cathedral. It's the combination of grandeur and humility and it's something to do with love.


Montpelier farmhouse and barn

Pencil on paper
280 x 487mm
Private collection

The accompanying text reads:

You lose yourself in time. Or you lose yourself out of time. Whichever it is you find yourself liberated from that unenviable human construct. Geography is unimportant too. I feel to be a sort of Sussex Laurie Lee child with the long grasses waving above me. Somewhere my sisters have left me. But I am not crying. The cider jar is empty, and it was long ago that I ran out of Rosies.
A field border such as this is rare. A beautiful wilderness of brambles and grasses edging to the monocultural landscape where nature is no longer 'mother nature' but just something of an irrelevant nuisance. This is lovely!

Barn at Marsh Farm

Pencil on paper
300 x 365mm


The accompanying text reads:

Is this where Lorna Garman kept the Bentley when she wasn't using it at night?

For more information about this picture go to
www.kevishouse.com


Untitled (2067)

Graphite transfer on paper
160 x 140mm

Untitled (2068)

Graphite transfer on paper
160 x 140mm

Untitled (sea and sky) 1

Pastel and gouache on paper
240 x 394mm


Farm buildings, Lower Argoed, Wales, 1

Pencil on paper
272 x 440mm
Private collection

Farm buildings, Lower Argoed, Wales, 2

Pencil on paper
255 x 355mm
Private collection

Farm Buildings, Lower Argoed, Wales, 3

Pencil on paper
231 x 321mm
Private collection


Angel, Nunhead

Solvent transfer on paper
305 x 245mm
Private collection

Angel, Surbiton

Solvent transfer on paper
322 x 244mm

Budesti, Romania

Solvent transfer on paper
264 x 220mm
Private collection


Laura 3

Solvent transfer on paper
112 x 150mm

Landscape 823

Graphite transfer on paper
610 x 360mm
Private collection

Ternita

Graphite transfer on paper
265 x 320mm


Campiello de la Grana

Pencil on paper
410 x 290mm

A drawing for the limited edition book 'Venice Beyond Baedeker'.

Rio della Panada, Castello 1

Pencil and coloured pencil on paper
380 x 280mm

Another drawing for 'Venice Beyond Baedeker'.

Rio della Panada, Castello 2

Pencil and coloured pencil on paper
370 x 280mm

Another drawing for 'Venice Beyond Baedeker'.


Out of time?

A book of 160 pages with drawings and text of (mainly) agricultural buildings in Sussex. 210 x 280mm. p/b. ISBN: 978-0-9572404-0-7. £24.95.
Front cover.
See below for six examples of drawings with text. (Barn at Barlavington Church, Sussex; Outbuilding at Glatting Farm, Sussex; Stone shed near Tillington, Sussex; Cart shed, Glatting Fram, Sussex; Field barn in the snow near Petworth (1); Hallgate Farm, Byworth, Sussex).

Out of time?

Sample page with part of the Foreword by Alexandra Harris.

Out of time?

Sample page with the concluding paragraph of the introduction and endnotes.


Oak, winter

Pencil on paper
370 x 412mm

For more information about this picture go to
www.kevishouse.com

Oak and ivy

Pen and ink on paper
310 x 445mm

For more information about this picture go to
www.kevishouse.com

Honey locust

Pen and ink on paper
280 x 380mm


Crack willow

Pen and ink on paper
205 x 200mm

One of a set of small drawings inspired by J.-B. Camille Corot's cliché-verre prints of the 1850s and '60s.

For more information about this picture go to
www.kevishouse.com

Yews, Kingley Vale

Pen and ink on paper
150 x 230mm

Another of the small drawings inspired by Corot's cliché-verre prints

For more information about this picture go to
www.kevishouse.com

Willows and alders

Pen and ink on paper
200 x 160mm

Another of the small drawings inspired by Corot's cliché-verre prints.


Builders' yard, Tillington, Sussex

Pencil on paper
292 x 352mm
Private collection

St Mary's, North Marden, Sussex

Pencil on paper
390 x 303mm
Private collection

World War II control tower, ex-RAF Tangmere, Sussex

Pencil on paper
290 x 344mm
Private collection

Cement render falling away like great dry scabs from ancient wounds. Two bare-legged girls in slight summer dresses walk arm-in-arm across the breezy concrete that once was a runway for Ansons and Wyverns. One of them turns and looks at me quizzically. You'd think they were on the beach and, architecturally, they are. For this is seaside architecture, Mendelsohn and Chermayeff, the Lido and rusted railings, damp with salt. An architecture for pleasure. An architecture of conflict.



A page from a drawing book

Pencil
c. 9 x 10 inches

Based on Turner 'Procession of boats with distant smoke, Venice', Tate Britain, London.

A page from a drawing book

Pencil
c. 9 x 10 inches

Based on Turner 'Seascape with storm coming on', Tate Britain, London.

A page from a drawing book

Pencil
c. 10 x 10 inches


Songs of love and hate, No.13

Pencil and coloured pencil on paper
269 x 190mm


Artwork for the thirteenth page of a hand-made book (Songs of love and hate) of concertina format containing 21 ink-jet printed illustrations with accompanying texts set in Monotype Fournier. The original drawings are reduced to fit the format of
12 x 12 inches and the book is slipcased.
The accompanying text reads:

On the air the warm scent of curing hay. Of clovers, vernal and of a barefoot girl in an empty schoolroom who you haven't yet met.

Songs of love and hate, No.9. Island platform, Hanwell railway station, West London

Pencil on paper
199 x 270mm

Artwork for the ninth page of 'Songs of love and hate'.
The accompanying text reads:

In the waiting room there is a paperback someone has left behind. Alain-Fournier. (Penguin Modern Classics, 1966). There is a blue-grey violet pressed between pages 70 and 71 and in the hinge of the broken spine the dessicated dust of old cigarette ash.

Bartons Lane Cemetery


Pencil on paper
130 x 220mm


After Amadeo Modigliani, Female nude, c.1916

Solvent transfer on paper
920 x 590mm

The first of a set of prints made from paintings in The Courtauld Gallery, London. As near as possible the prints are made to the same sizes as the originals.

After Amadeo Modigliani, Female nude, c.1916

Detail

Rachele

Graphite transfer on paper
760 x 510mm
Private collection


Venetian blind

Etching
Plate size 197 x 144mm
Edition of 10

Landscape 924

Etching
Plate size 250 x 350mm
Edition of 25

Landscpe 927

Etching
Plate size 250 x 350mm
Edition of 25


Barn at Barlavington Church, Sussex

Pencil on paper
290 x 458mm
Private collection

Included in the book 'Out of time?' (ISBN: 9 780957 240407) where the accompanying text reads:

Drawing with a ruler. Class three at primary school and Miss Galloway said, "Jonathan, real artists never use a ruler." And I believed her. I believed everything she said, her lovely hair in a golden bun, the perfume that my mother never wore. And where is she now, Miss Galloway? I see her hair now, grey and silver and gathered more into a bird's nest than a bun. I still miss her but she was wrong about rulers. A handy tool, the ruler — not for drawing straight lines which always end up sterile. But good for marking distances on verticals and measuring things. Very good for that.

Outbuilding at Glatting Farm, Sussex

Pencil on paper
290 x 448mm
Private collection

Included in the book 'Out of time?' (ISBN: 9 780957 240407) where the accompanying text reads:

The wind in the wires sounds like a distant musician practising for the Mount Airy Fiddlers' convention in North Carolina. In a galvanised fence post there are holes where the bolts should be. As it blows across these it reminds me of the Memphis Jug Band on a difficult day. These two together are almost there but there is no rhythm section. There is rain though and I begin to see the practical value of watercolour over graphite. I pull my coat over my head and drawing board and in my little tent I am given the percussion. Who needs iTunes and a plug in your ear?

Stone shed near Tillington, Sussex

Pencil on paper
298 x 476mm
Private collection

Included in the book 'Out of time?' (ISBN: 9 780957 240407) where the accompanying text reads:

Antoine de Saint Exupéry wrote that perfection is gained not when there is nothing more to add, but when there is nothing more to take away. I think of this as I make the drawing. He's right, of course he is. Hundred per cent. But, like thinking about landscape which is defined by what is not happening, it does make life difficult.


The night train from Paris to Venice. Brig, Switzerland

Solvent transfer on paper
240 x 318mm


Included in the book 'Fifteen Journeys'. The book contains written texts and reproductions of solvent transfer prints and the journeys range from this long train ride from Paris to Venice to a short walk through Soho, London.

By bicycle on the Venice Lido from Piazzale Santa Maria Elisabetta to Malamocco. Laguna Veneta

Solvent transfer on paper
290 x 385mm

A second image from 'Fifteen Journeys'.

To see a short film by Mike Hopkins on the making of this picture go to

Click here to see a video of this image being produced.

A short walk along the Oxford Canal from Oxford to Kidlington. Carpets-2-go.

Solvent transfer on paper
210 x 235mm


A third image from 'Fifteen Journeys'.


Laura 1

Solvent transfer on paper
328 x 305mm
Private collection

Laura 2

Solvent transfer on paper
330 x 300mm

All Saints, East Dean, Sussex No.1

Solvent transfer on paper
330 x 444mm


Hazel hurdle

Solvent transfer on paper
360 x 504mm

Used as an illustration in the book 'From Lap Dovetail to Oil on Canvas' which looks at the relationships between Twentieth-century art and early vernacular architecture.

Pantiles

Solvent transfer on paper
345 x 502mm

A second image from 'From Lap Dovetail to Oil on Canvas'.

Flint wall

Solvent transfer on paper
360 x 488mm

A third image from 'From Lap Dovetail to Oil on Canvas'.


Cart Shed, Glatting Farm, Sussex

Pencil on paper
300 x 426mm
Private collection

Included in the book 'Out of time?' (ISBN: 9 780957 240407) where the accompanying text reads:

A song thrush sits on the wire and says everything twice, as if I missed it the first time. I didn't.

Field barn in the snow near Petworth (1)

Pencil on paper
276 x 450mm
Private collection

Included in the book 'Out of time?' (ISBN: 9 780957 240407) where the accompanying text reads:

I enjoy the idea of the empty landscape where nothing happens. Where the nothing is emphatic and it makes you think of what it is that is not happening. It's more difficult than considering what is happening but it's frequently more rewarding.

Hallgate Farm, Byworth, Sussex

Pencil on paper
310 x 410mm
Private collection

Included in the book 'Out of time?' (ISBN: 9 780957 240407) where the accompanying text reads:

Christmas. It's a sort of pregnancy (which it is). It starts in March or April but only the marketing departments know of it. By June and July the fashion editors and stylists are with the photographers and by October it's become public. The shop windows are the first to tell the story and by December I am sick of it.
But here in this hay-strewn barn that's stood for a very long time, you can, with a tiny belief that overcomes all the hype, imagine that there really was, long ago, a baby born in a stable.


The benevolent and enduring friend of the foot-soldier

Solvent transfer on paper
150 x 328mm

One of a series of prints looking at the long tradition of the relationships between the fighting soldier and the pin-up.


Untitled

Solvent transfer on paper
260 x 305mm


The benevolent and enduring friend of the foot-soldier

Solvent transfer on paper
150 x 328mm

Another in the series of prints about the fighting soldier and the pin-up.


Fulvia

Solvent transfer on paper
Detail


Emily Sherrod, housemaid

Solvent transfer on paper
280 x 220mm

One of twelve prints made for the National Trust cafe at Petworth House. All the prints were made from black and white photographs of Petworth House staff from about 1900.

Wassell Mill Barn

Charcoal and chalk on canvas
24 x 18 inches

For more information about this picture go to
www.kevishouse.com

Homage to Robert No.2

Solvent transfer on paper
340 x 255mm


The Short Road Home, 1. Kissing in the Dark

Solvent transfer and collage on paper
320 x 320mm


The first part of a 12-part artwork using images of pin-ups and conflict. The pasted down text is typed on a manual typewriter. The text reads:

KISSING IN THE DARK

Walking along the still canal
from the hospital where a
nurse you thought you had
recognised was making a
phone call.

It was an answering machine.

And you throw her book and her
rosary into the green water.

I wonder where you are tonight, 1. No gold in the stream

Solvent transfer and collage on paper
320 x 320mm

The seventh part of a 12-part artwork using images of pin-ups and conflict. The pasted down text is typed on a manual typewriter. The text reads:

NO GOLD IN THE STREAM
NO FLOUR IN THE MILL

'You wear white stockings,
lover goodbye . . .
. . . You wear white stockings
forever goodbye.'

Where are the souls of
the faithful departed?

Shallow ground, 1. The weak smile of a dying revolutionary

Solvent transfer and collage on paper
320 x 320mm

The tenth part of a 12-part artwork using images of pin-ups and conflict. The pasted down text is typed on a manual typewriter. The text reads:

THE WEAK SMILE OF A
DYING REVOLUTIONARY

Her name is Irina and
she kneels at the bedside
with her hands pressed
together like the point
of a solitary church.

(They named a battleship
after her illustrious
paternal grandfather).


Cotton Club suspender belt

Pen and ink on paper
400 x 500mm
Private collection

Ophelia Fancy corset

Pen and ink on paper
500 x 400mm

Aubade polka-dot bra, 34B

Pen and ink on paper
400 x 500mm


Portrait of Graham

Pencil and coloured pencil on paper
500 x 400mm

Portrait of Graham

Detail

Portrait of Alex

Pencil and coloured pencil on paper
500 x 400mm


The Red Handkerchief / Il fazzoletto rosso

Limited edition hand made book of 32 pages. Format 210 x 290mm. The text, in English and Italian, is set in Monotype Octavian. The original artwork is pencil and coloured pencil on paper and was inspired by travelling on slow trains through France and Italy.

Page 2

The English text reads:

All the land is black and white and
grey in the falling snow. Grey
pylons and grey poplars. A cold
sewage plant. Someone walking
by the river with a black dog. A
grey-green umbrella between
willows. Snowy headlights,
yellow, describing the course of an
unseen road on winter pasture. A
ragged buzzard on a post. Black
mistletoe on high branches and a
city of pallets beside the empty
tracks. A cloud of starlings.
Someone has lost a red
handkerchief.

The Red Handkerchief / Il fazzoletto rosso

Page 27

The English text reads:

A small station seems to have no
name. There is no-one here.

It has been raining.

You hadn't seen a bright road or
shining slabs of black marble in
an empty cemetery.

Polythene in a vegetable garden.

A manufactory whose broken
steel-framed windows are the
hungry grids of unfinished
crosswords. Glass crushed into
gravel and a regiment of dull
military trucks waiting.

The Red Handkerchief / Il fazzoletto rosso

Page 28

The English text reads:

From this point where the power
lines cross the tracks the road and
the railway run side by side and
straight. Here you can see the
articulated trucks from Bremen,
Ljubljana, Napoli. Curls of grey
salty dust twist across the tarmac
in the cold brightness as they
pass. Their paintwork, their tyres
and licence plates are all this same
salty grey. It tells their autostrada
histories and only the shining arcs
left by the windscreen wipers are
immune to the story. Beyond the
grey tarmac and the tracks,
beyond the winter trees lie the
mountains. Far away but in the
Kodachrome air they seem much
nearer. Shining bright against
the cold blue sky they remind
you of an advertisement for
mineral water.
You are very thirsty.


Sylvie Vartan

Solvent transfer on paper
c.11 x 11 inches


The first of a series of prints made from press photographs of popular singers. The size of each is approximately the size of an LP record cover.

Will Balfa

Solvent transfer on paper
c.11 x 9 inches


The second in the series of prints of popular singers.

Debbie Harry

Solvent transfer on paper
c.11 x 9 inches
Private collection

The third in the series of prints of popular singers.


Landscape 970

Pastel on paper
22 x 30 inches
Private collection

Landscape 971

Pastel on paper
22 x 30 inches

For more information about this picture go to
www.kevishouse.com

Landscape 972

Pastel on paper
22 x 30 inches


Bonehill Down, Dartmoor

Pastel on paper
22 x 15 inches
Private collection

August storm, Didling, Sussex

Pastel on paper
562 x 815mm
Private collection

Field barn, Sussex

Pastel on paper
562 x 815mm
Private collection