My chosen theme for an important Art exam is one of the finest
examples of futuristic technology in
existence. It’s interactive, revolutionary,
progressive. I’ve picked something
ultra-modern, a reflection of the fast-moving times we’re in.
I’ve decided to portray a Space Invaders machine. It is
1980, after all. Space Invaders are
taking over the world, or at least the pubs of the world.
And I’m going to draw it in oil pastels.
Only, trying to draw a stupid Space Invaders machine in a stupid hot studio at college, with no previous
experience of these stupid smudgy colour sticks I’ve bought is a bit like
trying to paint the Sistine Chapel with lipstick. We’re up against the clock too, this being an
exam. I keep having to leave the room to
spray it with fixative which is a right pain, and gives a whole new
meaning to the phrase “getting a fix” – or perhaps not. The fixative smells like hairspray mixed with
nail varnish, Evostik and vodka. It can
kill 30,000 brain cells in one sniff, or something like that, and if we knew all
about CFCs and the ozone layer it would be banned, but we don’t - at least not for
another nine years or so.
Anyway, every time I go out into the college corridor to
sniff the fixative, Kirk is already there, sniffing his. Kirk is one of my best friends. He is tall, skinny, geeky, excruciatingly
shy, a Sci-Fi fan with a dry, caustic wit, and he looks a bit like a young Catweazel,
if you can imagine that. I swear he eats nothing
but cream buns and he wears those Cornish Pasty shoes. He is also super-talented, an incredible young artist. On a large piece of card he is portraying a
wonderfully bizarre view from a window, abstract and full of dreamlike atmosphere,
and it is a masterpiece - skillfully, expertly rendered – in oil pastels. Even after several sniffs of fixative spray I
think we can safely say he still has a lot more brain cells than me.
When the exam is over, Kirk has produced a piece of art good
enough to hang in the Louvre. Me, I’ve
produced a piece of shit not even good enough to hang in the loo.
I scrape by with a
‘C’ in my ‘A’ Level Art for a stupid
smudgy picture of a stupid arcade machine being played by my disembodied
hands; the whole thing looks more like a patterned jumper knitted by Aunt Ada after the malfunctioning sausage machine incident of '74. However, I’m very happy to say that Kirk is awarded an
‘A’ for his magnum opus. Not only is it
a brilliant piece in its own right, but it’s also an homage to another
fantastic artist, René Magritte.
As you may know from the first part of this series, Magritte is one of my favourites, so this is where the cover art theme comes in, as it turns out that there are an awful lot more examples of Magritte's inspiration than Kirk's 'A' Level Art triumph and a Jackson Browne album sleeve.
As you may know from the first part of this series, Magritte is one of my favourites, so this is where the cover art theme comes in, as it turns out that there are an awful lot more examples of Magritte's inspiration than Kirk's 'A' Level Art triumph and a Jackson Browne album sleeve.
Such as this…
Styx: The Grand Illusion
...and this…
Roger Daltrey: One Of The Boys
...this too.
Some are slightly less derivative, but still clearly inspired by Magritte...
Funeral For A Friend: Casually Dressed And Deep In Conversation
Heart: Greatest Hits
Gary Numan: The Pleasure Principle
There are also the covers which simply use original Magritte artwork, like these
Gladys Knight & The Pips: Visions
Jeff Beck: Beck-Ola
Alan Hull & Radiator
How brilliant and influential is Magritte?! Far too many examples to compare and contrast this time, I'm sure you'll agree. Mind you, I wish I could see Kirk's 'A' Level picture again and show it to you here; I have no doubt that it could still be a favourite...
... a bit like this was in 1980:
Space Invaders game
