It’s only early summer, and it’s already been filled with creative inspiration.
As much as possible I’ve been cycling my way from place to place, weather permitting, on the rather clunky and rattling Santander bikes. Although I promised, to those I roped in along the way, that there were no steep hills, there were, sorry Faye!
Have been enjoying catching up with all the new graduates’ work - navigating my way through a sea of thought provoking visual inspiration - always one of the highlights of summer.
It’s always great seeing how briefs’ and trends are interpreted, and how new materials and processes lead and drive this. And although I love digital techniques and processes, I also work with traditional drawing, painting and printing, as part of the development and the end product.
It can therefore feel overwhelming when you see so much digitally produced work at every turn – so much, that you end up by craving just more diversity.
It’s probably because of this, that I find myself drawn to some of the traditional hand-worked crafts and processes. I always love wonderfully rich sketchbooks, full of drawings, workings and experimentations that tell a story behind the work; also work that demonstrate an in-depth knowledge of a sampling, pushing processes and techniques; and then work that seamlessly combines technology and the traditional effortlessly, or so it seems.
So obviously, the pick of the best, of the new work I’ve seen recently reflect this - some beautifully produced hand painted and printed textiles from Edinburgh College of Art, that you had to touch, sorry; animation at the Royal College, where hand painted storytelling was brought to life with computer software; and finally some fantastic ceramics at Central Saint Martins with shapes, textures and surfaces to die for.
Talking of ceramics, I also managed to visit the Grayson Perry exhibition at the Serpentine, and yes, marvel at the brilliant work, but also his fantastically packed sketchbooks, wow!
And finally, I must not leave out a fun afternoon drawing and painting with my nephew. And our joint effort portrait, ‘Man in a Scarf’ is, apparently, clearly influenced by my style, I don’t know what they mean!