A Future

A future college copy

A Future

Head of Augustus
Looms down
Baby faced leader
Acquisition of colonialism

Castles stand proud
Once battlements
Survived invasions
Safeguard our shores

Across the beaches
Horseback troops thrust
galloping to battlement
Faster and Faster

Classic novels align
Our past, our heritage
The Empire, British supremacy
Victories acclaimed, territory conquered

Trains travel coastal bound
Frontiers of our Nation
Dishevelled
In need of renewal
Clatter and shake
Dust encased carriages
Lumped upholstery
Scrunched newspaper
Once great railways
Screech, screech

To the sea-side resorts
Past popularity
Former Glory
The Great British Holiday
Buckets and Spades
Ice Cream
Candy Floss
Deck Chairs
Donkey Rides
Punch and Judy
Now piers neglected
Slats rotting sea’s
Package holidays: deserted
Cheap flight redundancies
New desires: Mediterranean

Bataclan made famous
Once Norman conquerors
Suffering the same fate
Home-grown terrorism

Late capitalism looms
Community companies thrive
Social banking
Greener investments

Solar power
Sustainable energy
Centre stage
On our minds
On our consciousnesses
On our futures

Ice caps melt
No longer ignored
Pigtail bound school girl
Stands up
Takes on World presidents
‘How Dare’
Resonates
Leaders, baby faced
Earth must not resign
We, the Whole World
Act now
Turn down the temp
Reduce
Re-consume
Re-use
Re-vive
Re-demand a future.

Alison Little

 

A future, free flow text inspired by visual material collated as college featured above.

Barbie Must Die!

barbie

 

The top 10 reasons why Barbie must die and be with us no longer.

10 Goes out with Ken.

9 Drives very slow cars.

8 A bit too fond of Pink!

7 Delicate and brakes easily.

6 Does nothing other than leisure activities.

5 Injection moulded, resulting in her looking like every other injection moulded Barbie.

4 Her only function is to play dress up.

3 Is a stereotypical babe, cliché of straight, blond 3/4 length hair, fair-skinned and       representational of Aryan culture.

2 Literally an airhead, she has nothing between her ears.

1 Not a real woman!

Sinister Smiles

larma 004

Sinister Smiles

Folded over
Strapped down
Sectioned off
Cajoled, centrally

Dropped down from a disheveled Heaven
Tossed out of Godliness
Rejected from comfort provision for the afterlife
No longer good enough, surplus to requirements

Perhaps pushed out of a boot
Uphill reversing, then shoveled out the back way
Redundant of domestic interior requirements
Rendering green space urban wasteland

Alternatively, a body encasement
A wrap-around, makeshift coffin
A heroin-induced fatality
Disposed of under the extremities of degradation

But from the sinister tatters
We see a smiling face
From the angled geometrics
A striking grin works through
Turning the corners of our mouths
We smile back at the sinister grins face!

 

 

Sinister Smiles is a flash fiction works in response to the mattress shown in the image above. The image was originally posted on social media and the comment made helped to generate the literal works. Originally located in Everton Park, Liverpool, the mattress is no longer present and appears to have been disposed of by the authorities.

Game Over

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I stand Tall
The remains of Mee demolition
The crew:
Mee, the head man, Mo, Dow and Re-bow
Got started last week
The rest of the building knocked down:
Demolished
Kaput
No more

Outsides removed
Core kept in place
Outers ripped
Splattered to the ground

I stand as I have stood for fifty years
A geometric spiral
Staircase
Jagging my way upward
a point scoring-level
Increasing, jumping up

The internals of my handrail run free
Lashed, juxtaposed at angels
Level markers
Reds of point increase indicators
Borders to penetrate
Upper levels to target cross

Heading me off: the control box
The upper cube
Rooftop location
An outer look out
Generator casing
Roof maintenance portal facilitator

But the roof is now gone
The cube stands singular
The rain drip tray removed
The target level of console characters
Rubble to the ground

For the weekend I remain
The tower which survived
Friday knock off time
Mee said get off-ski
Mo, Dow and Re-bow
Made route: nearest watering hole
For two more days of the half century
I will stand tall
Monday morning, I shall fall
Crushed to rubble mush
The ultimate Game Over
No more
No longer
Nothing…

 

Game Over is an illustration and free flow text work created by Alison Little.

Best Dressed Easter Bunny

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Easter, Bunnies and Dressing Up.

Let’s get things straight!

How did the Easter Bunny come about?

The Easter Bunny actually came from Folklore, the Pagan Festival of Vernal Equinox fell around springtime. This was replicated with the Jewish Passover then again through Christianity as the Sunday when Jesus rose from the dead after the Crucifixion.

Why Eggs, Bunnies don’t lay eggs?

The traditional symbol of the Easter Bunny is carrying a basket of eggs both relate to each other. The bunny is, in fact, a rabbit or hair and a symbol of fertility, they reproduce actively and give birth to a large little around spring. Eggs are ancient representations of fertility in terms of the cell which need to be fertilised in all forms of life, also relating strongly to birds which lay eggs often hatching in spring. Thus, giving us the pairing of Bunnies and eggs.

Is the Bunny Female?

She is normally given feminine qualities which relate to the traditions of home-making, through the hiding of eggs, nest making and the ability to remember public holidays.

What’s the ‘Best Dressed’ tradition about?

The tradition relates to getting dressed up for the Easter service, wearing a new dress and bonnet for the occasion.

Best Dressed Easter Bunny cards are available from Rubbish cards and on sale from Arts Hub on Lark Lane, Liverpool.

More about Arts Hub

A Letter to your Former Self

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‘A Letter to your former self’ was a prompt for a sketch. It comprises of a mixed media image, pen and ink in addition to hard and soft pastels which are fully exploited. The figure representing the artist is almost angelic as it rises above the dangers of the personalities depicted below. The people are given the surround of an inferno to show the evil nature of their ways.

First, on the left we are presented with a girl who’s hair is entrenched by grease. From her mouth, vomit in projecting or possibly lies. A man, colossal in scale stands next to her, clothed in a T-Shirt brandishing Maine County. His body actions appear to be jerk driven and almost overacted. The face is blocked out, the visualisation of the facial features in denied, possibly a survival mechanism. Dreadlocks take control of the next character, malnourished but extremely confident through his stance, a drug dealer perhaps. We then see the image of a bore rising up, unfitting with the other figures. Centrally located, is a small but shifty character, the eyes look stoned as he hides under a well-worn woollen hat. A push-up bra babe then slots her way in, a true beauty with large eyes to match her breasts. Adjacent a geometrically formed man with glasses to match is present. One of his legs appears to be shorter than the other, a birth defect perhaps. A large, overweight women take over the majority of the space available. The next bound security pass shows her profession: a social worker, the fat drizzled features of her face depicting a falsehood of caring. Penultimately, the row is finished off with a dangerous man associated with the RAF. The final member of those present is a soldier, possibly a Para slotting his head into the image.

In ‘Letter to my former self’ the girl tells herself to avoid any other the characters, to rise above and not to allow any of them to cause her harm.

The sketch was completed by Alison Little, the prompt was provided by Allyson Bright:

30 days of Art Journaling Class

 

Hockney Smokney!

Hockney Window


Art carnage at the Abbey!

One of the most acclaimed artists of the twenty and twenty-first century has turned his hand to stained glass window design. The early career John Moores painting prize winner has risen to the height of producing a stained panel design for Britain, if not Europe’s most prestigious Cathedrals: Westminster Abbey. Is this iPad engineered, coloured, lead framed transparency really right for the Nations finest Abbey?

Standing dominantly and not overshadowed by the currently undercover, due to maintenance work, Big Ben, we have Britain’s Westminster Abbey. The ten thousand years plus, a centre of worship, hosts memorials, burial sites and caskets for our Kings and Queens, Hero’s of Warfare, Great Leaders, significant artist, writers and poets, in addition to, and the never to be forgotten, grave of the unknown warrior.

In the long-standing tradition of the Church, they have continued the trend of commissioning contemporary artists and David Hockney had brought the latest of his artistry to stained glass at the Abbey. Hockney is considered one of Britain’s greatest painter, making a valid contribution to the Pop Art movement of the 1960’s he continues to paint across a range of subjects from landscape to portraiture. After a successful solo show at the Royal Academy of Arts earlier in the decade, the exhibition travelled to the Guggenheim Museum, Bilbao then to Los Angeles where he has a further two studios. Using the latest iPad technology he designed the window for the Abbey.

The intention of the window is to commemorate the reign of Queen Elizabeth II, our current monarch. The window depicts a rural scene and portrays the affection she feels for the countryside. The window was dedicated by the Dean of Westminster, Dr John Hall earlier in the month.

Is this really great contemporary visual arts or have a number of mistakes been made rendering the outcome a national blunder? Was the correct position for a modern panel to be on the left hand of a set of three, the other two being of traditional design? Would it not have been better to have fitted three new modern windows or for the Hockney piece to be in an isolated location? Did Hockney consider the existing Gothic Architecture in designing the panel? In comparison the stained glass in the RAF Chapel fitted just over seventy years ago to commemorate the Battle of Britain, why did Hockney to look to produce glass work more in keeping with its surroundings? Are the bright primary colours set against contrasting secondary tones, not a little too bright to work with a period piece? If we were to relocate the panel to a twentieth or twenty-first century designed Cathedral, the Metropolitan Cathedral in Liverpool would it be a well-designed window? Is there any consideration given to the lead structure is is it just some kind of organic jellyfish-like form surrounded by randomly positioned pods which bear no relation to the framework of the glass?

To be frank, a Hockney disaster and simply artistic carnage to the finest one of the finest examples of Gothic architecture we pride ourselves in having created.

The solution: remove, exhibit as a design error and commission a new artist to produce a panel which will work with, not against this National Treasure.

More about David Hockney

Westminster Abbey