Having given a talk
in autumn 2011 about the inspirations
for his work, Borin Van Loon
finally decided to record those parts of his early paintings and
collage which survive and place a selection on this website. Having
made a sequence of posters for school social and cultural events, he
wanted to stretch things further and try his hand at large-scale work
influenced by the psychedelic posters of the time and the surrealist
paintings seen in the Tate Gallery, Millbank, London.
concert poster: Soft Machine, The Nice, Taste
clearly heavily influenced by the 1960s work of
Moscoso which depends on poster
production techniques of the time (not to mention brilliant desing
sensibility!). Unfortunately, Borin didn't know anything about
hand-separations of black and white artwork, over-printing and darkroom
techniques, so he tried to achieve something similar with cakes of
poster colour on sugar paper 'borrowed' from the art cupboard at
Marshall Hendrix (1968)
One of the
first stand-alone paintings by Borin Van
Loon, inspired by the cover of the LP Axis:
bold as love by The Jimi
Hendrix Experience. Many things have
been inspired by the music on that album and its outside, inside and
insert artwork (see the 2012 painting Axis,
for example, which
reflects the colour scheme of the lyric sheet). Hendrix was breaking in
the London clubs with The Experience, scaring the pants off the local
guitar-slingers such as Jeff Beck, Eric Clapton and Pete Townshend. His
features lent themselves to striking graphic depiction, deliberately
set in a large black ground. Little did we know that, once unleashed on
his homeland in the Americas, his days would be numbered.
surface of the third stone from the sun for a work from 2014
using this image as a jumping-off point and Freedom from 2015 which bears an
poster: UFO (1968)
attempt to depict the split inking and colour
gradation of the psychedelic poster explosion. UFO was the unoffical HQ
of the freaks which was held in a subterranean club in the West End.
Mick Farren worked on the door and it was managed by the influential
figure Joe Boyd. Soft Machine and Pink Floyd were the 'house bands'.
& The Coloured Coat
for a seminal UFO poster.
abstract Ginge (1969)
bits of paper on other bits of paper became an
interest at a time when top quality design and imagery started to
arrive through the parent's front door for free in the form of Sunday
colour supplements. Opening up new ways of exploring imagery, design
and text, sometimes incorporating paint, the early collages tend to
have an "everything but the kitchen sink" character but with some sense
of free-ranging control. See also Behold
Your King from this period which
prefigures the Facial
Make-ups sequence of collages.
watercolour painting from little later and still
stuck on those arabesques. Paul Klee once described taking a line for a
walk; Borin is sure that he didn't mean this sort of thing, but that's
what it felt like in creating this piece.
dream phobia (early 70s)
Freud was claimed (whether he liked it or not)
as a major influence by the Paris Surrealist group. Having read a
series of Freud's introductory lectures on psychoanalysis and dream
Borin started to look at his own dream imagery. This painting
vertiginous falling nightmare.
attempts to get to grips with oil paint. See
also the Captain
Beefheart portrait: The
propensity of the
English for queuing.
grave of Lott Betts (early 70s)
The inspiration here was a gravestone found in the churchyard of
Leiston, Suffolk. The detail of the lettering and algae (shown in
close-up to the right above) are reasonably
accurate and the sepia picture of soldiery was found at the bottom of
an old box. See our sister site The Ipswich Historic Lettering website
for an image of
the actual gravestone.
Clumsily punning title, but you get the idea. The trilby hats flying
upwards, ghostly chairs and tree figure represent a faltering first
step towards later oil paintings.
See also some of the inspirations
this early work.
throughout this site belongs to Borin Van Loon