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“An Allegory of the City of Nottingham after Robert Holcombe” (Leftlion #87, March 2017)

28 Feb

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The latest issue of Leftlion magazine, officially published on March 1st but already out and about in all the usual pubs, venues and locations around the city, features cover art in the style of Robert Holcombe, but with an end result that is not actually part of his official body of work for a wide variety of reasons. As an explanatory note inside the issue points out about the artwork and its authorship:

“Explaining the authorship of this month’s cover might take a while. It’s an allegory of the city of Nottingham made by Wayne Burrows in the style of the entirely fictional British artist Robert Holcombe (1923 – 2003), borrowing elements from Holcombe’s Folklore Series work The Innocents III (1974). Making the cover image became a game of ‘how many blatant Nottingham references can I squeeze in without including a single actual thing from Nottingham?’. Ranging from the obvious (Errol Flynn as Robin Hood, Arthur Seaton minding Owl Man‘s owl) to the slightly less obvious (a Bramley apple, DH Lawrence’s The Rainbow, the xylophone of Xylophone Man) and ending up with the occasionally random (a mongoose, a fish-man coelacanth), we hope you’ll have fun trying to spot them all.”

an-allegory-2017-20

Holcombe’s Folklore Series work, The Innocents III (1974), was actually one of the first collages made in the fictional body of work that has, since around 2010, continued to grow and be refined, extending both backward and forward in time from that early focus on the work that Holcombe was making in the later 1960s and early 1970s. The collage featured in an exhibition titled Wunderkammer curated by Jennie Syson during the British Art Show fringe festival Sideshow in 2010, and in a few other places between 2010 and 2012, and while the collage itself either no longer exists or is lost (I’m not sure which applies myself) a scan made at the time documents it:

folklore-series-the-innocents-iii

As you’d probably expect, any resemblance between the two compositions (mainly seen in the central stone megalith and the lunar presence) is completely coincidental. It was only after the Leftlion artwork was complete that its familiarity and a certain sense of deja vu jogged my memory and led me to look again at The Innocents III, which evidently carried a little of the same DNA. Despite that passing similarity, it’s also clear to me that the 2010 image is made in a style from which Holcombe’s work rapidly developed into something else entirely…hence The Innocents III having a current status that places it as, at best, very much marginal to his canon, and perhaps, at this point, outside it.*

An Allegory of the City of Nottingham (after Robert Holcombe) [2017] is not designated as Holcombe’s work either. Its making as a commissioned piece, following a set format and including thematic links to the interests of the magazine whose cover it appears on, means that it not only has differences in technique to Holcombe’s signature approach, but its subject matter simply doesn’t fit into his chronology. Or, to put it another way, I couldn’t contrive a persuasive reason why Robert Holcombe might have taken such an interest in Nottingham, nor how he would have come to include allusions to aspects of the city that post-date his active period by decades. It’s also the second work of its kind to exist fully outside the Robert Holcombe canon in this way.

The first, The Naming of Clouds, was made to a brief for reproduction as a print to be handed out during performances at Somerset House of two works, Cloud Workers and The Naming of Clouds, by Philip Stanier and Penny Newell. The brief for this image (and the grid of 28 postcard-sized images making up a performance score that accompanied it) was based on Newell’s PhD research into representations of clouds in art and literature, and Stanier’s imaginitive response to that research, though within this I was free to flesh out the structure as I liked, with no specific instructions given beyond an initial diagram that positioned the basic elements of the landscape and specified the divisions into ‘flesh’, ‘nature’, ‘machinery’, ‘cloud’ and ‘mathematics’ within the cloud itself:

the-naming-of-clouds-landscape-image-small-edit

Making The Naming of Clouds in 2016 had already helped to define the separation between Holcombe’s fictional body of work and any collages that might be made for other purposes using the same archives and materials, and even some of the same methods, in my studio. For that reason, the effort of trying to bend the Leftlion image to fit Holcombe’s body of work in some way was a step that I could simply skip. The work, then, exists in a different kind of space and is allowed to be exactly what it is – an allegory built around a spatially unsettling constructed landscape, populated with both allusive components and objects present as much for purely visual reasons as reasons related to the meanings hidden away elsewhere in the image. It’s a sort of variation on an eighteenth century conversation piece: a picture designed solely to catch the eye and offer some sort of diversion.

*The Innocents III (1974) tenuously remains in the margins of Holcombe’s canon, perhaps, because it might have been nothing more than a failed experiment, a study he carried out in an idiom that is plainly more an exercise in the style of its particular mid-1970s moment than a work made in line with Holcombe’s own developed stylistic trajectory.

Robert Holcombe as Fiction at Nottingham Writers’ Studio (October 6th, 2014)

11 Oct

Immersion (Milk Capital III) [1970]

On October 6th 2014 I was invited by NWS director Pippa Hennessy to deliver a short talk about the origins of the fictional artist Robert Holcombe, and the shift in my general approach to writing since around 2010, as part of the regular ‘social’ event held every month at Nottingham Writers’ Studio. As I’d got the notes already written down and the images gathered for the slides used on the night, it seemed worth preserving an outline of the talk here, if only because it might help to explain what it is I think I’m doing and how I ended up doing it…

Wood & Ink (Shoestring Press) (545x800)

At the start, writing poetry for the most part, I worked in the generally accepted way. That is, I mostly did things other than writing for a living (in my case, working in retail, picture framing and other similar trades) and sometimes got to write things in my spare time. I sent these things out to the magazines I knew about, who would sometimes publish them. At a certain point I had gathered a book’s worth of poetry that seemed both OK in itself, and gave an impression of coherence, so this was sent out to publishers. Marginalia appeared from Peterloo in 2001, and after several years focused on a day job in freelance journalism, compiling a fragmentary book about money called Shrapnel and developing projects like a sequence about genetics written for a dance company in 2005, a second short poetry collection, Emblems, emerged in 2009.

The Apple Sequence (Orchard Editions, 2011)

It’s worth noting that I still work this way, though I’ll admit that I’ve been negligent about sending things to magazines since 2010, perhaps because I edited one, called Staple, between 2007 and 2011, and needed a very long break from the endless round of envelopes, stamps and emails by the time its natural life-span expired. Even so, a series of poems written in response to woodcuts by Alan Dixon were included in the anthology Wood & Ink last year, and a body of new work, including the sequence A Cycle Of Songs From The Body’s Interior, will feature in Black Glass: New & Selected Poems, which is forthcoming from Shoestring in March 2015. But there was also a turning point, where a new way of working became possible, and this was probably a 2010 commission to work with Neville Gabie on a project built around the redevelopment of Sneinton Square, a historic fruit and vegetable market on the Eastside of Nottingham.

Sneinton Square by Patel Taylor Architects

This project became known as Orchard  and my contribution to it was a book-length series of poems called The Apple Sequence, a 64 page publication distributed free to an audience not usually engaged with the arts, but with a stake in the future of the site: market traders and their customers, activists involved in urban food production on the many allotments and city farm nearby, tenants and residents of the Sneinton and St Ann’s areas more widely. The commission included money to cover production of an artwork, so I used this to create a book from scratch – designing, typesetting and writing it simultaneously, to a tight deadline and with a definite public purpose. This seemed a more interesting way of working than the standard literary and publishing industry model. More to the point, it seemed to work, with The Apple Sequence widely read by those we’d hoped to reach.

Robert Holcombe: Marine (1955)

Yet the fact that this book was directed not at the poetry world in the standard way, but addressed to a very different readership, seemed to mean that as far as conventional literary acknowledgement went The Apple Sequence barely existed. Perhaps this was partly delayed response: no reviews, for example, but one of the few literary events the Apple Sequence poems were presented at was a Nine Arches Press reading in Leicester soon after publication – so the apple-themed anthology that appeared from Nine Arches this year may not be entirely unrelated to the 2011 project. At any rate, The Apple Sequence proved liberating in terms of the control it allowed over the design, format and speed at which the book could appear, and for the readership it was able to find while by-passing the usual literary channels. It is probably not insignificant, either, that the work of writing poems was, for once, reasonably well paid upfront.

WayneBurrows_Robert_Holcombe_The_Modernists_Diptych_I_(Primal)_[1972]_(2014)

I’ve been exploring the possibilities of this way of working ever since, in poetry and various kinds of non-mainstream fiction, the resulting work mostly distributed outside the channels of traditional publishing. A couple of these later projects might include Spirit Wrappings (2012), which was produced as a short, beautifully designed fiction chapbook by Nottingham Contemporary, commissioned in response to an exhibition about a collector named Rashleigh Jackson by visual artist Simon Withers and curator Abi Spinks, and The Disappearances/The Peel Street Codex, commissioned by Jo Dacombe and Laura Jade Klee of Sidelong to be performed in caves, then made into booklets for A Box Of Things (2014), a limited edition publication documenting a project based on the myths and legends of Nottingham’s cave network.

Robert Holcombe: Biological Camouflage (Les Chateaux de la Loire I) [1977]

The creation of Robert Holcombe, an alter-ego who could be put to many different uses, was almost accidental. He first appeared in a novel I’d been writing, Albany 6, which traced an alternative history of the late 20th century, where he was the author of a handful of pulp science-fiction stories that had shaped the obsessions of the book’s main protagonist, a Chicago musician named Thomas Satz, and grew from there. His public debut was as the subject of a fictional lecture during 2010, expanding on one of those pulp stories, Not smoking can seriously damage your health (1976). More fake lectures have been delivered since, among them a fabricated paper exploring the invented connections between Holcombe and the post-war Polish sculptor Alina Szapocznikow, presented at a Nottingham Contemporary symposium on the meaning of disgust in November 2013.

The Modernists: Portal (1967)

So who is Robert Holcombe? An exhibition hand-out written in early 2014 gives the basic facts of his fictional biography:

“Robert Holcombe is an entirely fictional British artist (b. Leeds 1923 – d. Exeter 2003) whose fascination with collage was first discovered when he began cutting up magazines and rearranging the parts whilst convalescing from injuries sustained in 1944, during active service in Malaya. He was a radio engineer, a contemporary of Richard Hamilton at the Slade School of Art  and, from 1955 until 1988, a planning officer in Leeds. He maintained a long correspondence with Eduardo Paolozzi, whose interest in elaborate fictions and alternate realities he shared. Although Holcombe did not exhibit publicly during his lifetime, he made most of his work under two pseudonyms – Gene and Michael Harrison. It’s also notable that many of his images, particularly those featuring material rooted in fashion, advertising and technology, show a more ambiguous enthusiasm for the world of the Post-War era than was usual at the time. His works are marked by a fascination with consumerist excess, inscrutable apparitions of surgical, sexual and folkloric symbols inside modernist interiors, and unsettling disturbances of ordinary space”.

From The Holcombe Family Bible [Apocrypha - The Appearing of Three Angels to Abraham] (1967)

Another lecture on Holcombe’s work was improvised at a closing event for the fictional retrospective exhibitionThe Family Bible & Other Fables: Works From The Holcombe Collection 1948 – 1978, staged at Syson Gallery in January 2014. This outlined links between the fabricated collages on the gallery walls and their literary sources, some fictional, like Holcombe’s own pulp SF writings and letters, others, like Angela Carter’s The Infernal Desire Machines Of Dr Hoffmann and JG Ballard’s The Atrocity Exhibition, very real. A quote from Ballard’s The Atrocity Exhibition perhaps gives a flavour of the literary origins of Robert Holcombe: “These mental polaroids form a large part of our library of affections”, writes Ballard. “Carried around in our heads, they touch our memories like albums of family photographs. Turning their pages, we see what seems to be a ghostly and alternative version of our own past, filled with shadowy figures as formalized as Egyptian tomb-reliefs.”  

Marine - A Story in Eight Objects (Nottingham Castle, 2013) Cover design by Joff + Ollie.

The first time all of these literary, historical and visual threads had come together in a single place was in Marine: A Story in Eight Objects, commissioned by Nottingham Castle and Fermynwoods Contemporary Art to be part of Make Believe, a series of interventions in the collections and grounds of Nottingham Castle during 2013. The exhibition explored the blurring of fact and fiction in the site’s real and legendary histories and Marine combined a 30-page print publication, tracing the actual and imaginary resonances of a sea voyage from England to Hawaii aboard HMS Blonde in 1824; a film remix setting fragments of that published text to 1950s ‘exotica’ music and sequences of still visual images; and an installation featuring a Holcombe work inside a high security case (another collage appeared as the book’s frontispiece and the opening image of the film).

Make believe -7560

The Marine film and publication were also presented at two venues during the inaugural Pilot Festival in Brightlingsea, suggesting that they did not depend on the site specific context they were devised for. Site specificity could also arise by accident: with Holcombe having been at least partly inspired by JG Ballard, it seemed a good omen that the second fictional retrospective – Folklore, Ritual and The Modern Interior: 1955 – 1975 – was shown at a London gallery named (by the curators, Pil & Galia Kollectiv) after three ‘psychic projections’, Xero, Kline & Coma, who appear in several of Ballard’s books. Even more pertinently, the exhibition accidentally coincided with a major Richard Hamilton retrospective at Tate Modern and Hannah Hoch’s work just down the road at the Whitechapel, both of which added a certain additional resonance to the work on display.

XeroKline&Coma

Holcombe’s Performing The Curtain Rituals series, supposedly made in 1966, directly referenced work by both these neighbouring artists, a fact that earned the show a small place in a dissertation on the politics of parafictional art published by Keren Goldberg at the RCA in summer 2014. This seems apt, as chance meanings were the subject of The Holcombe Tarot, a series of 78 collages made between 2011 and 2014 in which a few classic Tarot symbols, like Death, The Tower, The Lovers and The Priestess, were vastly outnumbered by such oblique images as The Mirage (some banknotes hovering above a glacier), The Source (a gigantic chrome tap standing in a ruined abbey), The Purge (a burning rice field, suggestive of the late Vietnam War context in which the cards were made) and The Nest (a classical column protruding from a birds’ nest). Devised to appear meaningful, while remaining open-ended, the curious thing is how the drawing of one of these cards can still feel significant.

Tarot Series (The Mirage)

These cards were first shown (as a selection of 12 collages) at Xero, Kline & Coma and have since been prototyped as a working Tarot pack and launched on Kickstarter, so a limited edition of 100 packs of The Holcombe Tarot will be produced in November 2014. The Holcombe Tarot also, I suppose, works as a kind of mutated poetry collection: a gathering of images that seem to relate to one another, can be ‘read’ in sequence or dipped into at will, each card freestanding but dependent on the others. Perhaps this is the thread connecting these bodies of written and visual work. Collage and poetry, after all, both operate through the selection and recombination of images and details from multiple sources. In a poem it might be a written recollection or voicing where a view of an apple orchard merges with a memory of factory machinery; in a collage it might be some photographic combination or overlay of the two things. The effect, either way, is similar.

GBX020 CD 800

A project currently in its early stages of development is Exotica Suite, a collaboration with the musician Paul Isherwood (look up The Soundcarriers’ back catalogue for some examples of his work). At this point Exotica Suite is not planned as a Holcombe project but a sequence of new texts exploring identity as something constructed, both for us, socially, and by us, in response to assumptions made by others. Inspirations are figures like Sun Ra, Yma Sumac and Jack Bilbo, who each in some way refused or complicated authenticity and rebuilt reality around themselves (as Holcombe notes in a 1984 letter: “We resist the effort to shape us by a refusal to accept the stifling conformity of being ourselves.”). Where all this will lead is not yet known, but the results will be released as a vinyl LP and download and a print publication. There will be events at New Art Exchange to introduce the ideas and influences behind the project and discuss the issues it raises. I think it is going to be interesting.

Robert Holcombe Exhibition Guide (Syson, 2013)

22 Dec

The Family Bible & Other Fables: Works from the Robert Holcombe Collection (1948 – 1978) is a fictional retrospective exhibition, offering a selection of around 70 works from the three decades of collage held by the Robert Holcombe archive. It’s on display at Syson Gallery and Antenna until January 31, 2014 (the gallery reopens on January 8th after the Christmas break).

The Modernists - Diplodocus (1967)

“I am fascinated by self-erasure. The more stridently our world demands that we prize individual uniqueness and choice above the connections between us, the more obvious it becomes that we choose one poor print from a very limited range. Still, paradox is our friend. We resist the effort to shape us by a refusal to accept the stifling conformity of being ourselves…” [Letter to Eduardo Paolozzi, 1984]

“The question of identity is fascinating. I evade myself. I use only found materials on which I leave no obvious mark and I reconfigure them under an identity that is not mine. But each work generates a fingerprint, anonymous to the casual glance, yet so revealing to one prepared to enter that very particular labyrinth that no escape from identification seems possible without gloves…” [Letter to Eduardo Paolozzi, 1973]

1964 programme

ROOM ONE (Timeline, 1948 – 1978):

Unidentified Artist: French etching showing a murderous priest in a storm, 1825.

The origins of this image, or its path into Holcombe’s family, are not known, but Holcombe’s sister, Elizabeth Booth, notes that it was hung in his childhood bedroom, and he took it with him when he left home to study at the Slade in 1948. Clearly, something in this mysterious and violent scene – a portrait of a priest murdering a woman with an axe in an Gothic landscape racked by lightning – resonated with Holcombe, and its influence, both in specifics (the cut tree in its disjointedly theatrical space) and broader terms (its generally unsettling atmosphere and ambiguous message) can be seen in much of Holcombe’s own work. Booth acquired the picture on Holcombe’s death, and notes that by 2003 he would have had it close for pretty much the entirety of his eighty years.

Ozymandias (1948)

This small collage is one of only a handful of works to have survived from Holcombe’s early years. This image, derived from Percy Bysshe Shelley’s poem of 1818, was made and framed the summer before he left Leeds to begin his studies at the Slade.

Corset (1951)
Revolt (1951)

An unrelated pair of early works, most probably made while studying at the Slade. It’s doubtful that collage would have been part of Holcombe’s official portfolio, and he is recorded as having specialised in printmaking. So far, no examples of Holcombe’s prints have emerged, but much of his archive remains uncatalogued. Letters of the time suggest that, by 1951, he had developed a particular interest in the possibilities of colour screen-printing and was concerned with questions of printing as an element in graphic and interior design. It has been suggested that he was already moving away from fine art as a focal point of his interests by his second year at college, which – if true – would be consistent with his decision to pursue a very different career path to his contemporaries after 1955.

Gothic Conversation: A Crucifix for Luis Bunuel (1952)

A small work, explicitly indebted to Max Ernst and the conventions of Surrealist collage (see also: Corset and The Reading Room of 1951: a sly nod to Ernst’s Loplop also appears in The Kiss, made during  1957). A Crucifix for Luis Bunuel  is significant in bringing together the biological, religious and pop-cultural (here, specifically cinematic) elements that would define much of the work that followed. The atmosphere here is also notably similar to that seen in the anonymous 1825 print he had brought with him to London.

Gothic Conversation: Telekinesis I & II (c.1952 – 56?)

It is difficult to date this unsigned work in two parts with any certainty, but stylistically it closely resembles the work he was beginning to make in the mid-1950s, just prior to and following his return to Leeds in 1955. Many works like this were produced, initially as part of a series of Gothic Conversations, and this group appears to merge, around 1965, with the often similarly-toned and themed Folklore Series.

Marine (1955)

Marine (1955)

“I have no recollection at all of what was on my mind at the moment of creating this, nor any memory of the location of the landscape towards which this strange but real sea creature, whose identity I have also forgotten, directs its gaze. It feels as though I dreamed the whole conjunction and woke one morning, surprised to find it among my papers…” [Letter to Eduardo Paolozzi, 1962]

Marine is one of many images made between 1953 and 1966 based on plates from Stoddard’s Portfolio, a popular collection of photographs showing the sights of the world published by The Werner Company of Chicago and London in 1893. Because the publication ran through many mass market editions over the years, by the 1950s it appears to have been a cheap and versatile source of backgrounds for Holcombe’s early collages. With only a few exceptions, he is drawn to generic and anonymous imagery rather than the more distinctive kinds of photography that were available to him had he wished to use it.

The Kiss (1957)

An unsettling image made from an equally unsettling illustration in John Bull magazine, The Kiss is notable for its anticipation of what would later become the Ghost Pornography series around 1978, in the use of fabrics as a spatially disorientating device, and for its sly nod to Loplop, the bird-like Max Ernst alter-ego who appears in many of Ernst’s collages and paintings from the 1920s onwards. Holcombe signs the work ‘GH’, Gene Harrison, and his own use of a dual pseudonym (the other is ‘MH’, or Michael Harrison) suggests a self referential joke about such avatars may be at least part of the meaning of The Kiss. This may also be reading too much into what is, after all, mostly a genuinely disturbing image of dysfunctional romance.

Untitled (1957)

This untitled image is notable mainly as a very early precursor of a technique that would later be pursued in a more systematic way, in this case the Biological Camouflage series of 1973 – 78. It is also rather unusual in Holcombe’s work for utilising an unsigned watercolour (said by Elizabeth Booth to be a small mountain landscape by a Swiss amateur painter and mountaineer, Mattheus Theobald) rather than a generic tourist brochure photograph, as the base for its visual manipulation. The painting itself was purchased from a street market during a holiday in Swabia during 1956 so is likely to have been bought with the purpose seen here in mind.

Gothic Conversation III (The House in the Forest)

The Radiation Chamber (1958)
The House in the Forest (1964)
1964 Programme (1964)

In The House in the Forest, a fractured moon hangs among the dark trees of a wood in which a famous Workers’ Centre built in Moscow during the 1920s plays the part of the traditional folk-tale cottage. Whether Holcombe intends the juxtaposition of folktale and revolutionary architecture to be read as hopeful or satirical is difficult to tell. He is certainly known to have been conscious of the interesting work being made behind the Iron Curtain (he is thought to have met Polish sculptor Alina Szapocznikow in Paris during 1963, and dedicated the Krakow suite of 26 collages to her in 1964) and, for similar reasons, to have been acutely aware of the problems faced by the residents of these only nominally socialist states.

The Modernists (A Haunting) [1965]

The Modernists: A Haunting (1965)

The Modernists series is a loosely themed group of works created by Holcombe between 1965 (when the prefix is first used in a title) and around 1976, when the last works appear to have been made. Unlike more consistent series, like the Krakow portfolio, or the later Biological Camouflage and Ghost Pornography cycles, The Modernists images are linked only by their interest in the thematic subject matter and imagery of modernity itself, drawing heavily on design, fashion, architecture, film and other related material. The variousness of The Modernists also allowed many one-off devices and experiments to be included: A Haunting appears to sow the seed and anticipate a technique that would be much more systematically deployed in Ghost Pornography fifteen years after it was first made.

The Modernists: Idyll (1966)
The Modernists: A Lawn (1966)
The Modernists: Jack London’s Study (1966)

Holcombe’s levels of activity appear to have fluctuated over the years, though before 1981, when he abandoned collage altogether, there are no lengthy breaks in his pattern of working. The beginning of The Modernists cycle in 1965 does appear to have had a liberating effect on him, however, and his productivity between 1966 and 1968 is large and sustained, though unlike other sequences, The Modernists is not visually and thematically cohesive or unified, with works varying in size, format and approach. The Modernists tends to be allusive and often refers obliquely to the works of Portuguese modernist Fernando Pessoa, with whose works Holcombe became familiar after a research trip to study system built public housing in Lisbon during 1960. A somewhat darker outcome of this visit was the explicitly anti-fascist portfolio of monochrome images known as Images Portugaises: Secretariado Da Propaganda Nacional (1961) in which the blandly appealing propaganda scenes circulated internationally by Salazar’s government were overlaid with illustrations from manuals of surgery, skin disease and machinery.

Folklore Series: The Passageway (1966)
Folklore Series: Canada (1966)
Folklore Series: The London Transmission (1966)

Concurrent with The Modernists beginnings in 1965, Holcombe had also begun making work under the general title Folklore Series, a vehicle for dark, fairy-tale like and explicitly surrealist images of enigmatic scenes and presences. Where The Modernists series develops a kind of ambiguously Pop-inflected aesthetic clearly influenced by the burgeoning young consumer culture of the mid to late 1960s, Folklore Series tends to maintain a pre-war set of concerns, notably with the uncanny and ritualistic, and its images feel more like a subtle linear evolution of the concerns seen in Holcombe’s 1950s works than a new direction. In works like The Passageway, the emphasis is very much on disturbance.

The Modernists: Diplodocus (1967)
The Modernists: A Family Luncheon (1967)
The Modernists: Afternoon (1967)
The Modernists: The Lady of Shallot (1969)
The Modernists: Primavera (1970)

The Modernists series continued to dominate Holcombe’s output during the next few years, and some of these are among the best-known and most widely-circulated works in the archive. Diplodocus (1967) has become something of an emblematic Holcombe image, its constructed space inhabited by a dinosaur skeleton seemingly revealed to us by an archetypal sixties girl whose outfit matches the curtain she draws back. Intended meanings and symbolism are mostly fluid and enigmatic. Holcombe’s decision to construct a series of 78 Tarot images in 1971 was justified with an observation in a letter to Paolozzi of 1972: “The Tarot reader works not by supernatural means but by allusion, as users intuitively read oblique symbols for personally applicable meanings. I believe art operates in exactly the same way, becoming meaningful only by an intuitive process…” Much in Holcombe’s Tarot Series is echoed in The Modernists, where some symbols – often sexual or political – are clear, others left completely open-ended.

Folklore Series (Christ of the Termites) [1969]

Folklore Series: Christ of the Termites (1969)

A more enigmatic response to the religious theme, here a photograph of a church interior is occupied by a termite mound, seemingly built in homage to a hovering mathematical shape. The lunar rise in the foreground of the image, strewn with thorns and roses, is an early, and therefore inaccurate, image of the moon’s surface. It’s noteworthy that several other Holcombe works of 1969 (see also: The Modernists: Outside The Lunar City) have lunar themes, probably inevitable at the high watermark of the Space Race, when after ten years of anticipation and competition with the Soviet programme, NASA’s Apollo 11 mission finally placed humans onto the lunar surface in July 1969, and (Holcombe noted later) “marked the end-point rather than a real beginning for all the promises of Space exploration our generation had been raised on”.

Folklore Series: The Innocents I (1972)
Folklore Series: Black Sun II (1973)
Folklore Series: On a Hilly Landscape Near the Welsh Border (1975)

Many of Holcombe’s 1970s works, particularly those in the Folklore Series, develop an apocalyptic tone, often reminiscent of the scenarios found in the dystopian Science Fiction cinema of the same period. In Black Sun II (1973), Home (1975) and On a Hilly Landscape Near the Welsh Border (1975), post-war domestic residences seem oblivious to darkening skies and hovering tumours, while The Innocents I (1972) shows a child, isolated in some bleak alien landscape. Elizabeth Booth has suggested that this image may be an oblique reference to Antoine de Saint-Exupery’s novella The Little Prince, first published in English in 1943, and probably read by Holcombe during his convalescence in Malaya in 1944.

The Modernists: The Wedding at Cana (1974)

A similar technique is used here to that seen in The Family Bible series, but both the source images (here, rather kitsch mid-1950s photographic tableaux of scenes from the life of Jesus instead of the more delicately coloured engravings of The Family Bible) and Holcombe’s treatments are less reverent and, at times, border on the kind of comedy later seen in Monty Python’s Life of Brian (1979). The Wedding at Cana presents the disciples as attending a bachelor party where the light of Jesus is the glowing shirt of a 1950s washing powder advert. Holcombe, in adding deliberately provocative and inappropriate items to the scene, seems to be partly venting against the puritanical Methodism of his boyhood, but also asking how, in an age when every festival and ritual in the Christian calendar has become an opportunity for consumerism, anyone could seriously object to a collage that simply shows what these events now look like in the homes of those most likely to be offended.

Ghost Pornography: Gilt (1978)

This is the earliest image in the final (known) cycle of Holcombe’s active period, Ghost Pornography, which (a couple of precedents like 1965’s The Modernists: A Haunting aside) he began in 1978 and finally abandoned, so far as we can tell, around 1981, along with his thirty year collage-making activity in its entirety. The reason for his abandonment of this life-long habit of collage-making isn’t known, though Booth believes a combination of depression after 1979, partly based in the wider political situation, increased workload in his final decade before retirement in Leeds, and also, more hopefully, a simple feeling of completion, may all have been factors. Booth also notes that he did continue to make collages on a more occasional basis, mostly as gifts for friends and correspondents, but no longer followed his routine of working at his desk in the spare bedroom for an hour or two most evenings after work. It seems that between around 1981 and 1987 he also began to sort the material he’d been making, securing and framing pieces that may otherwise have suffered damage, but put everything into storage on his move to Exeter in 1988. It was this only partially ordered archive that Booth inherited in 2003 and from which these works have been selected.

Performing the Curtain Rituals I – IX (1966)

Performing the Curtain Rituals seems to be a group of works that stands almost exactly mid-way between The Modernists and Folklore Series, merging ethnographic photographs of ‘primitive’ peoples, mostly taken from encyclopaedias and missionary sources, where they were invariably framed in imperial and racially superior terms, with then-current domestic interiors. Holcombe’s purpose, according to a letter written to Eduardo Paolozzi in 1966, was “…to pursue a feeling that once these patronised ‘native’ figures were cut from their original desert and jungle contexts and relocated in modern European interiors, they became both incongruous and rather more like ourselves: the peculiarities of our own customs seem to be exposed. A Pere Ubu-like figure inhabits an ordinary living room; a Zulu warrior poses in front of orange curtains beside an English Nurse, and so on. In the latter, the nurse’s ritual costume does not contrast with but echoes the warrior’s: her clipboard is a shield, her breastplate and utterly impractical head-dress make no more or less sense than his spear, shield and loincloth do. That half the world now aspires to these bizarre interiors only heightens this disjunction between tradition and modernity and the tensions and symbiosis that blur them. I am also in love with the colour balance these combinations of printed materials produce when they are all viewed together…”

From The Holcombe Family Bible [Jesus in Martha's House] (1967) (800x682)

ROOM TWO (The Family Bible):

The Family Bible (1967) [shown as projections]

These works exist only as loose portfolio pages, and are made on the actual plates of a Victorian bible. Because of this, they are extremely delicate and being shown here in projected rather than physical form, to aid their conservation. The series itself is one of the most explicit reflections of Holcombe’s Methodist upbringing. Notable scenes from the Old and New Testaments are brought up to date in a variety of dryly ironic ways: Moses raises his arms before a vision of the El-Al airline’s hyper-modernist office signage or descends from the Mount bearing not Ten Commandments but two brightly coloured Cream Sodas. The men wringing Joseph’s Garments in their hands appear to be polishing silver with a branded product. Joseph’s dream, related to his brethren, is the apparition of a beautiful woman stepping from a bathtub, while a dinosaur strolls past The Fall of Man, oblivious to Adam and Eve’s misfortunes. While often satirical in tone, The Family Bible series also contains more mysterious images: in The Entombment an image of Christ’s body being laid to rest is itself entombed under painted concrete, while Jesus in Martha’s House shows the blue gown of a kneeling woman dissolved into a cloud of blue hyacinth petals.

The Modernists - The Modern Interior I (1967)

STAIRS:

The Modern Interior I (1967)

One of a pair of works linked to The Modernists series, The Modern Interior I & II seem near identical on first glance, but differ in a variety of subtle ways. Holcombe himself hints that the difference in print finish on the same images, reproduced in different magazines, was one source of his interest in making these two pieces. The other may be a wry response to Andy Warhol’s 1960s photo-silkscreens, insofar as Holcombe painstakingly hand-makes rather than mechanically reproduces an near-exact duplicate of his own composition.

Biological Camouflage: Renaissance II (1978)ROOM THREE (Renaissance):

Biological Camouflage: French Renaissance I (1978)
Biological Camouflage: French Renaissance II (1978)

Biological Camouflage: Italian Renaissance I (1978)
Biological Camouflage: Italian Renaissance II (1978)
Biological Camouflage: Italian Renaissance III (1978)
Biological Camouflage: Italian Renaissance IV (1978)

Most of Holcombe’s various Biological Camouflage series add cellular or other microscope images to landscape photographs, seeking “spatial displacements and disruptions of landscape and architecture, a kind of Land Art on paper. Or maybe it was just about noticing how perfectly cellular patterns blend into and unsettle generic scenes (sourced from tourist guides) using a very simple formula…”, as he wrote to Cy Albertine in 1984. The ‘simple formula’ was that each collage would impose only one modification to its background, presented as a kind of opened hatch within the frame (no diagonals or tilts of the added rectangle or square image are permitted) and somehow ‘matched’, camouflage-style, to the space it modifies. In this smaller group, however, the effect is very different. The grounding images are paintings – four Italian Renaissance frescoes and a French Renaissance tapestry and fresco – while the biological elements are both multiple, shaped and manipulated more elaborately within the frames. Even so, the unsettling effect remains comparable to the many photographic Biological Camouflage series to which this variant is a kind of marginalia.

The Modernists: The Birth of English Modernism (1965)

The earliest known work in The Modernists series, this strange image merges an opium den with molecular forms, spun from the vaguely surprised hands of an English labourer. It  presents a kind of imaginary source moment for what now, in hindsight, resembles the most significant cultural shift in Europe since the Renaissance itself.

The Modernists - The Friends of Richard Hamilton (1972)

ANTENNA (Late Works):

The Friends of Richard Hamilton (1972)

Holcombe had first met Richard Hamilton as a fellow student at the Slade in 1948 and this homage is built around various elements associated with Hamilton’s work, all set on the background of a poster showing the members of Roxy Music, a band famously shaped by Hamilton’s influence during his time in Newcastle. Here almost completely obscured by devices like the male body-builder from Hamilton’s iconic 1956 collage What is it that makes today’s homes so different, so appealing?, relaxing after his exertions of the 1950s, a beaker of unidentified white liquid from a Science Fiction B-Movie and polished Brancusi-like military projectiles, the members of Roxy Music array themselves around a run-down pool hall while Hamilton’s own implied presence is in the position occupied by the viewer, entering the scene like a guest at some spatially and temporally disjointed party.

Immersion I: Milk Capital (1970)
Immersion II: Milk Capital (1970)
Immersion III: Milk Capital (1970)
Immersion IV: The Surgeons (1971)
Study for Immersion (1970)

“I’m interested in all the strange stuff that circulates in our heads now: histories where fact bleeds into fiction, advertising and propaganda, stories that pretend they’re showing the world as it is, or could be, if we’d just work harder and do as we’re told. To be effective, that kind of material needs to tap into something truthful about what we do really want, subconsciously, but I’m not sure anyone can predict exactly how releasing those authentic desires along with the fabricated ones will play out. What if we buy into the desires they’re fabricating for us more deeply than they imagine possible – and then act on them?” [Robert Holcombe: Unpublished Letter To Eduardo Paolozzi (1972)]

Immersion (Milk Capital III) [1970]

Studies for ‘The Consumer’ (undated, c.1956 – 61)

A row of portraits of a child, each slightly different, are overlaid with consumer products, cut from magazine advertisements of the mid 1950s, and indirectly anticipate the Immersions series of 1970 – 71, though no direct link is made in Holcombe’s correspondence or journals. If the specific work for which these studies were made survives it has not yet been found, and no completed work titled The Consumer is catalogued in the Holcombe archive.

The Modernists: Resetting the Clock to Another Incorrect Time (1969)
The Modernists: Liberty Leading The People (1968)

Unlike other sequences in Holcombe’s body of work, The Modernists is not visually and thematically cohesive or unified, with works varying in size, format and approach. The Modernists tends to be allusive and often refers obliquely to the works of Portuguese modernist Fernando Pessoa, with whose works Holcombe became familiar after a research trip to study system built public housing in Lisbon during 1960. The Modernists series dominates Holcombe’s output during years between 1965 and 1974, and some of these works are among the best-known and most widely-circulated images in the Holcombe archive.

The Modernists: The Modern Interior II (1967)

One of a pair of works linked to The Modernists series, The Modern Interior I & II seem near identical on first glance, but differ in a variety of subtle ways. Holcombe himself hints that the difference in print finish on the same photographic images, as reproduced in different magazines, was one source of his interest in making two versions of this piece. The other may be a wry response to Andy Warhol’s 1960s use of photo-silkscreen, insofar as Holcombe here painstakingly hand-makes rather than mechanically reproduces an near-exact duplicate of his own composition.

The Modernists: ‘…And Now I Unleash the Power of Pure Thought…’ (1970)

Holcombe is known to have had an interest in comics and science fiction from an early age, going so far as to have published at least two short SF stories, Not Smoking Can Seriously Damage Your Health and Personal Playback, under his own name in an American journal, Lomax Review, during 1976 and 1978. The quartet of works making up this Comics Series, and such related images as ‘And Now I Unleash The Power of Pure Thought’, pay a fairly straightforward homage to the genre, each image implying a whole series of back-stories and events that anyone familiar with the medium would recognise immediately.

California: A Study in Yellow (1974)

A fairly simple 1970s update of the device often used by the painter James Abbott McNeill Whistler, by which the subject matter of a figurative painting is de-emphasised in order to highlight more formal and abstract properties. In Holcombe’s version, it is unclear whether he intends the same effect to be experienced, or is more obliquely satirising aspects of formalism in art by producing an image that announces its own superficiality with the word ‘GLOSS’ hovering inside the frame on a somewhat exotic looking paint can. There may be a self-deprecating humour at work in that, by 1974, Holcombe was already making his own formally constrained Biological Camouflage images, which adhere to very strict and near-minimalist compositional rules.

THE READING ROOM (Miscellany):

The Reading Room (1951)

One of a relatively small group of surviving early works, most probably made while studying at the Slade. It’s doubtful that collage would have been part of Holcombe’s official portfolio, and he is recorded as having specialised in printmaking. So far, no examples of Holcombe’s prints have emerged, but much of his archive remains uncatalogued.

Constellation: Coffee Lounge (1955)
Constellation: Shellac I & II (1955)
Constellation: Pump & Shellac III (1955)

Eduardo Paolozzi recalls a number of these small, square images being displayed “scattered across a wall with drawing pins, approximating the pattern of a particular star formation, possibly Orion or The Great Bear, but I can’t exactly remember. Holcombe had an idea that he might photograph and develop the images as negatives and present them in tiny light-boxes inside a darkened room, but nothing ever came of the idea to my knowledge”. The five images framed here are the sole remaining fragments of this unrealised project.

Study for ‘Performing the Curtain Rituals’ (1966)

Performing the Curtain Rituals seems to be a group of works that stands almost exactly mid-way between The Modernists and Folklore Series in Holcombe’s mid-sixties output, merging ethnographic photographs of ‘primitive’ peoples, mostly taken from encyclopaedias and missionary sources, where they were invariably framed in imperial and racially superior terms, with then-current domestic interiors.

Comics Series I: The Birth of the Hero (1970)
Comics Series II: Confrontation on the Steps (1970)

Holcombe is known to have had an interest in comics and science fiction from an early age, going so far as to have published at least two short SF stories, Not Smoking Can Seriously Damage Your Health and Personal Playback, under his own name in an American journal, Lomax Review, during 1976 and 1978. The quartet of works making up this Comics Series and such related images as The Modernists: And Now I Unleash The Power of Pure Thought (1970), pay a fairly straightforward homage to the genre, each image implying a whole series of back-stories and events that anyone familiar with the medium would recognise immediately.

The Modernists: Outside The Lunar City (1969)
The Modernists: Our Price to You, Including Postage & Packaging! (1969)
The Modernists: The Last Supper (1974)
The Modernists: Sof-Set by Max Factor (1966)

Unlike other sequences in Holcombe’s body of work, The Modernists is not visually and thematically cohesive or unified, with works varying in size, format and approach. The Modernists tends to be allusive and often refers obliquely to the works of Portuguese modernist Fernando Pessoa, with whose works Holcombe became familiar after a research trip to study system built public housing in Lisbon during 1960. The Modernists series dominates Holcombe’s output during years between 1965 and 1974, and some of these works are among the best-known and most widely-circulated works in the Holcombe archive.