Well, as the Easter Holidays come to a close, I find myself with only seven pages left of this sketchbook. Since dropping a day at work since March, I’ve felt so much better and more creative. The sinks and tables might not be so clean though!
The first sunny Wednesday I got free was spent in Wisley’s glasshouse, marvelling at the orchids suspended with roots tumbling. Dad and I felt rather warm as the first sunny days of spring had us both reaching for the colour pencils…
I put this drawing of cacti onto a screen and am in the process of making some bags and pencil cases with the first few prints I made at home.
On Tuesday, I got the chance to try out my National Art Pass, gaining 50% off entry to the Eduardo Paolozzi show at the Whitechapel Gallery. After the brilliant workshop I attended with Wuon Gean-Ho – still to document that – she said that the Paolozzi show was the one to see. She was not wrong! I was fascinated by his abstract screen prints and pattern making as much by the bold and often brutish cast concrete sculptures. Loved the abstract shapes, textures and colours.
This dress was amazing – the geometric print, big sleeves and fresh colours made it look so contemporary.
I just had to sit and draw this sculpture. The jazz was a bit bonkers. There was one track that sounded like a Bond theme, which made me (my usual rather jumpy self) begin to regret the perfect flat white I’d had when I arrived.
One of my favourite images, apart from the monochrome pair (Plaza and Girot from 1964) both coincidentally on loan from Pallant House (next stop on my list!) was ‘Wittgenstein in New York’ from a series of 12 screen prints called As is When (1965) . I loved the Indebele patterns in ‘Artificial Sun’, also from this series alongside the use of metallic bronze and black ink in the print which gave it an almost tarnished appearance.
Catch it before it closes on the 14th May.