Tuesday 17 December 2013

Natalie Ryde and the spiders of art


I had two notable encounters with spiders this year and both occasions put me in mind of Robert the Bruce and the Spider.  For those of you who know nothing, Robert the Bruce was defeated by the English early in his career and went on the run.  Hiding out in a cave, considering his next move, Bruce spied a spider making a hash of attaching its web to the slimy cave wall.  The determined little arachnid persevered and eventually succeeded.  Robert the Bruce thought “Fuckin aye” and went on to kick some English arse at the Battle of Bannockburn.

I have been making a tenacious effort to make a living as an artist this year.  One fine November morning, I cycled to the studio, burst through the door with my usual positivity and joie de vivre and discovered a massive garden spider on a brand spanking new web anchored at 3 points to paintings that I wanted to work on that day.  Being a softy and slightly arachnophobic, I let him be and admired the stunning web that it had efficiently constructed overnight; a more evolved specimen than Rob’s.  Unable to work on my paintings I embarked on a net drawing, and what a stunner it was.  “Thank you spider” I thought, “I too can weave lines into visually appealing patterns.”  

Inspirational - Studio Spider


However, this is not the moral of the story.  When I flung the door open the following morning announcing “Salutations Spidey!” I was greeted by an eerie silence.  To be honest, I always am, and the spider was not a talkative fellow.  The quietness in this story represents the spider’s absence.  Not only had the spider buggered off but it had also completely dismantled its web without a trace.  Gone.  The conclusion I drew from this experience was that the spider was simply outdone by my net drawing.  The studio ain’t big enough for the both of us.  No matter how fine a web you can weave, how tautly you tether those lines, someone else will do a bigger and better job.

Inspirational - Nat's drawing


It gets worse.  While teetering atop a ladder scraping wallpaper off the ceiling in my new flat, I was horrified to be at eye-level with a spider that resembled a plump black grape with legs.  These babies have 13 eyes or something; I simply didn’t know where to look.  This spider was more like Robert the Bruce’s, struggling with its web and probably vaguely disgusted by the dark purple, textured wallpaper.  I kept an eye on it and continued with my scraping thinking “If that fat-ass spider can make a web, I can scrape off this bleeding wallpaper.”   

Once again, I had interpreted the moral of the story all wrong.  When I returned a couple of days later, that spider was on the floor, dead.  There’s no use in building a web in a room with no flies.  I felt guilty because I should have thrown her out, but I didn’t want to on account of the legs/eyes/body situation.  I continued to scrape the walls and 8 hours later, still not finished, I brushed up the paper and realised that the spider, wait a minute, the spider…had burst.  Its legs were stuck to the floor and its body was a raisin in the brush bristles.  When the builder came to quote for the work on the room he told me not to take any more wallpaper down, it was a waste of time.

So how can we look forward positively for the coming year as spiders and artists?  “There is no use in building a web in a room with no flies” is an exhibition title waiting to happen.  Strategy is important.  Where do I build my web to both have a comfortable home life and catch a lot of insects?  What kind of insects would I like to catch?  There may always be another spider making a bigger and more perfectly formed web, but guys, each web is individual, there’s space for lots of spiders.  Besides which the bigger the spider the more risk there is of being taken by a bird or being too fat to stay on your web.  Now there’s positive spin.



Wednesday 20 November 2013

Net drawings in The Crooked Tree group exhibition City of London

Tongue Tied - pen on paper - 100cm x 136cm



Tongue Tied and The Broken Pattern's Pattern will be on display at Sink Art's new pop-up exhibition...


The Crooked Tree


Private View: 6-8pm 26th November
Exhibitions Runs: 27th November – 7th December

 1st Floor, Building 3,Creed Court,5 Ludgate Hill, London, EC4M 7AA


Lily Rose Thomas | Luke George and Elizabeth Rose | Mary Wintour | Serena Porrati | Natalie Ryde | Natasha Peel


“My kids are starting to notice I'm a little different from the other dads "Why don't you have a straight job like everyone else?" they asked me the other day.
I told them this story:
In the forest, there was a crooked tree and a straight tree. Every day, the straight tree would say to the crooked tree, "Look at me...I'm tall, and I'm straight, and I'm handsome. Look at you...you're all crooked and bent over. No one wants to look at you." And they grew up in that forest together. And then one day the loggers came, and they saw the crooked tree and the straight tree, and they said, "Just cut the straight trees and leave the rest." So the loggers turned all the straight trees into lumber and toothpicks and paper. And the crooked tree is still there, growing stronger and stranger every day.”
Source: Tom Waits -Buzz Magazine (USA) 1993

Hidden in the shadows of St Paul’s cathedral, Sink art has transformed a large office into a pop-up contemporary art gallery. The project is in collaboration with The Renaissance Foundation and money raised by the exhibition will go towards their cause.

Nietzsche said that no artist tolerates reality- the issue of art therefore arises in the creation of work as a rebellion against how things are. To overcome the status-quo has long been an ambition of artistic movements, each one aiming to overcome an issue with the current art of the time, each defying it in new and interesting ways while they all simultaneously shout ‘Renaissance’.

This exhibition makes use of aesthetic qualities to overcome personal issues. Forming these personal experiences are underlying forces in the work which ultimately benefits from irregularity, imperfection and the realm of the imaginary. Cracks appear through paint-works and journeys are explored through photography whilst routine life is re-imagined and disruptive forces shape new identities.  

The exhibition therefore examines the process of and reaction to circumstance. Be it personal, natural or metaphysical the outcome is a result of strength through hardship, a celebration of imperfection.

For further information and images please contact Alex Baddeley:



07507491907

Monday 11 November 2013

Turning over a new leaf



Work in progress - oil and dye on canvas - approx 2m x 1.5m


















There is something seriously sensual about oil on canvas.  My first love is outdoor drawing and working in my Moleskin sketchbooks.  With this painting I want to retain the instantaneous feeling of being there and responding expressively to the landscape. Working on a large scale with big brushes and a palette knife allows me to retain this feeling of spontaneity.  Painting in the fold of the sketchbook acts as a compositional device and also makes the link between the initial sketch and the painting.  The next layers will be hot light shining through from behind the trees.
This is the first new post in my artist blog.  
I update photos from the studio regularly and these new posts will give you a bit of insight into my influences and processes.