09 June 2017

Ongoing renovation

Three weeks ago it looked like this -
 and after a little furniture moving it looked like this -
At the start of this week, all the books had been moved, and one box for the bookcse was ready
Intermittently, collections and patternings appeared -
 and sometimes the room looked like this, as work went on -
But it didn't take long to get back to some semblance of serenity -
As I type, the boxes are getting their edgings fitted -
Those books? They're part of my Cunning Plan for stowing away lots of the less-used volumes -
In the Carpentry Studio, my sewing machine is almost visible behind the plastic inner dust-walls -
 It doesn't look like a lot of books for filling those shelves, but out of shot are at least as many more -
 Elsewhere in the room, this week saw the addition of proper handles to the new drawers -
The spray-painting is to happen when I'm away at CQ Summer School next weekend, after which comes the joyful task of putting books on shelves (once a librarian, always a librarian!) and then, of jiggling them around into some sort of useful arrangement.

Meanwhile the pocket-handkerchief garden has been growing and blooming, and yielded most of these -

08 June 2017

Poetry Thursday - Waking in the Blue by Robert Lowell

The setting. A reading of the poem is here
Waking in the Blue

The night attendant, a B.U. sophomore,
 rouses from the mare’s-nest of his drowsy head
 propped on The Meaning of Meaning.
 He catwalks down our corridor.
 Azure day
 makes my agonized blue window bleaker.
 Crows maunder on the petrified fairway.
 Absence! My heart grows tense
 as though a harpoon were sparring for the kill.
 (This is the house for the ‘mentally ill.’)

 What use is my sense of humor?
 I grin at Stanley, now sunk in his sixties,
 once a Harvard all-American fullback,
 (if such were possible!)
 still hoarding the build of a boy in his twenties,
 as he soaks, a ramrod
 with the muscle of a seal
 in his long tub,
 vaguely urinous from the Victorian plumbing.
 A kingly granite profile in a crimson golf-cap,
 worn all day, all night,
 he thinks only of his figure,
 of slimming on sherbet and ginger ale’
 more cut off from words than a seal.

 This is the way day breaks in Bowditch Hall at McLean’s;
 the hooded night lights bring out ‘Bobbie,’
 Porcellian ’29,
 a replica of Louis XVI
 without the wig’
 redolent and roly-poly as a sperm whale,
 as he swashbuckles about in his birthday suit
 and horses at chairs.
 These victorious figures of bravado ossified young.

 In between the limits of day,
 hours and hours go by under the crew haircuts
 and slightly too little nonsensical bachelor twinkle
 of the Roman Catholic attendants.
 (There are no Mayflower
 screwballs in the Catholic Church.)

 After a hearty New England breakfast,
 I weigh two hundred pounds
 this morning. Cock of the walk,
 I strut in my turtle-necked French sailor’s jersey
 before the metal shaving mirrors,
 and see the shaky future grow familiar
 in the pinched, indigenous faces
 of these thoroughbred mental cases,
 twice my age and half my weight.
 We are all old-timers,
 each of us holds a locked razor.

Robert Lowell (1917-1977)

Lowell, who came from a privileged New England background and studied at Harvard, started writing confessional poems in the mid-1950s; when this poem was published, in Life Studies in 1959, it was considered brave to "come out" about mental illness, even though he doesn't talk about the nature of the illness.

If there are references in the poem that are mystifying, these notes give some insight. "B.U.", for instance, is Boston University, hardly as prestigious as Harvard. Porcellian? an all-male social club at Harvard.

Why does this poem appear here today? As so often, it's the result of a coincidence - my happening to start reading the catalogue to an exhibition called The Written Image that I had intended to see yesterday, but got sidetracked from. (It's still on my list; read about the show here and here.)

In the exhibition catalogue Robert Perkins presents 45 years of collaboration with poets, and he writes:
These experience [of frightening things, as a child] prepared me to accept an old and precious world full of contradiction as it was overflowing with beauty. 
Our age doesn’t welcome the introvert. For these reasons, when I discovered her, poetry meant the world to me. These men and women seemed like fellow travelers, older, wiser, more acute observers, spinners of the most gossamer fabrics and emotions.  
Instead of being woven into the fabric of our everyday life, I’ve noticed poetry is, for most people, something they turn to on an ‘occasion’: a marriage, a death, even an illness. I discovered poetry again on Bowditch Hall, a maximum-security ward for men at McLean Hospital [in Belmont, MA], the same ward referred to in Robert Lowell’s poem ‘Waking in the Blue.’ I was there a year (in 1968, insurance paid for a full year) and the aide who is mentioned in Lowell’s poem as the B.U. sophomore was still there. He had a copy of the poem in his wallet. He would pull it out and point to his mention, as proud as any parent showing off pictures of his child.  
After reading that, it seemed essential to find  Waking in the Blue immediately.

And now I've been sidetracked from looking at the online catalogue by writing this blog post, not just finding a new poem but educating myself about it and its references, and finding out about Lowell and about Perkins. ("Life happens when you're making other plans", wot?)

On his website Robert Perkins says of himself:
 Born in Boston and classically educated at Milton Academy and Harvard University (AB 1974), he received an MFA from the Graduate Program at Bennington College in 2004. His true education began while spending his 19th year on Bowditch Hall, the men’s locked ward at McLean Hospital in Belmont MA. (Humpty Dumpty River). Although it did not initially appear so, the trauma of this experience was the key to his life.

Back to the serious stuff of my own Plan A, now.

07 June 2017

Stitching and citizenship

Aram Han Sifuentes, a South Korean artist inspired by her own process preparing for the U.S. citizenship exam, imagined hand embroidering the test questions on a linen sampler. She started the sampler in 2010 and before it was finished it had a buyer - at the cost of $725, the cost of the US citizenship application.
(via)
Now she runs workshops in which people can embroider their own citizenship-question samplers. She teaches embroidery basics, as well as civics.

Could we do with some of that in the UK?

Stories about the difficulty of the UK citizenship test abound - some of its questions are said to be in the realm of "specialist knowledge" and not very relevant to life in the UK in 2017. Hundreds of sample questions are online, eg at https://www.thelifeinuktest.co.uk/

In the version I randomly looked at you get four choices of answer, and one choice is usually "None of these". Which is supposed to me you think ... or quake in your boots. Or ... guess.

I fell at the second question - what did Bronze Age people do with their dead - which seems a very specialist bit of knowledge, not terribly relevant to life in Britain today. (Apparently they mummified them ... we know because of the tunnels made in bone by gut bacteria - read more here.)

A few questions later: "What year did the Vikings finally conquer England?" (Have a guess - 1166, 1066, 1100, 843.) This made me somewhat furious, because the Vikings never did "finally" conquer "England" - where is the "None of these" option when it would be useful! The "correct answer" is indicated as 1066 ... so those would be Norman Vikings then?


A 2017 practice test, at https://www.thelifeinuktest.co.uk/new-3rd-edition-test/practice-test/1, seems more sensible. Some of the questions are True/False, a format that can conceal all sorts of trickyness, and others need you to choose two options of the four - which must be why it's possible to score over 100% - 154.17%, in this example -


An instructive example of the US citizenship test is here - I like the way it tells you why you're right (or wrong) -


or you might want to try a sampling of the questions in this Washington Post article, which explains:

An important part of the application process for becoming a US citizen is passing a civics test, covering important U.S. history and government topics. There are 100 civics questions on the naturalization test. During the interview process, applicants are asked up to 10 questions and must be able to answer at least 6 questions correctly. Here is a sampling of what may be asked. How would you do?


In the UK the test has 24 questions and you have to answer 18 correctly. It costs £50 to take the test, and you can take it as many times as you need to (paying each time). Once you've passed, the fee for UK naturalisation is £1282.

In stitch...

The UK has recently seen a big "civics stitching" project. You may remember the Magna Carta embroidery that was exhibited at the British Library, spearheaded by Cornelia Parker. Images are here.

The text for this massive work came from the Wikipedia article about the Magna Carta, captured on the 799th anniversary of its signing. Lots of famous people were asked to do a bit of stitching on it, and most was done by prisoners via Fine Cell Work.
A frame from the British Library's video; other videos are here
Another Magna Carta project consists of 12 panels, more in the style of the Bayeux Tapestry. It was made by a team led by Rhoda Nevins to commemorate the 800th anniversary of the signing.

Coincidentally ...

Just yesterday I happened to listen to an episode of In Our Time about the Battle of Lincoln (20 May 1217) in which the various versions of the Magna Carta were explained, and why two of the three copies of the 1216 version are now in France. Fascinating. The radio programme is  available online, on the BBC iplayer, or as a podcast, and apart from King John and the actual battle we hear about Eustace The Monk (a pirate!) and also Nicholaa de la Haye, castellan of Lincoln, a remarkable woman.

06 June 2017

Drawing Tuesday - Camden Arts Centre

Besides the nice cafe with bosquey outdoor seating, the venue offered two exhibitions - Geta Bratescu and  Paul Johnson (till 18 June).

Some internet images of works in Bratescu's show -
"Drawing with closed eyes" (via)
The "black and white piece" ... collaged textile (via)

One of the Medusa series (via)

"The Traveller" (via)

Book on grey pages, the same photo against foil of different shapes (via)

Using textile scraps that came from her mother  (via)

This small work by Bratescu was compelling - she manipulated this photo of herself in other works too -
The Smile (via, which has more works also seen in the show)
Later I realised it reminded me of paper dolls cut in a strip; at the time I was busy drawing several versions -
Quickly round the gallery
Spending more time with the acrobats, and the eyes-closed-drawings
Sue's "acrobats" show their true proportions - (a variant of the acrobats is here) -
Joyce was captured by "No to Violence"  -
Judith drew a small section of the Paul Johnson exhibition -
Jo settled down on a bench and drew what was around it, including door handles and this exit sign, which - out of context and textured - suddenly becomes a story about to happen -

Extracurricular activities 

Sue worked from a photo of cabbages taken at her allotment to produce "something a little more abstract" -
and Joyce captured these textures from an ancient willow near Dedham (in Constable Country), with a view to using them for embroidery -

05 June 2017

Back to the Futur(ism)

Hot on the heels of making a long list of exhibitions I'd like to see - about half of which I might get to - I took myself to the nearest, at the Estorick Collection in Highbury, a pleasant walk of less than an hour (not quite 10,000 steps).

Giacomo Balla: Designing the Future is on till 25 June. It encompasses figurative painting and drawing, as well as abstraction and applied art and many of Balla’s fashion-related designs. Balla was one of the signatories of the Futurist Manifesto (1910) and did some very dynamic painting, eg cars and motorcycles travelling at speed; he sought to apply art to everyday life ... and came up with some wonderful patterning.

I didn't have time to draw in the exhibition, got there half an hour before it closed, but this one certainly made me want to draw -
Perfectly puzzling for paper piecing!
This small work, which is "among the earliest examples of 20th century abstraction", looked intriguingly shimmering, as if it was painted on layers of glass -
 The wall label said -

His designs for clothing were intended to come to life as the wearer moved -

 ... and this clothes rack is a fitting setting for those clothes when they're having a rest -

And now a grumble - here's an early painting, titled "A Woman Sewing" -
A Woman Sewing (1896)
What is she doing, though?
Those hands, though, are not in a sewing position. Don't you think she's crocheting?

This error a problem of translation from Balla's Italian title? If so - or even if not so - why oh why are writers, curators, even artists perhaps, so careless with (or ignorant of) terms relating to any form of "needlework" ... just another "woman's craft", is it?

04 June 2017

Lining a few things up

Some of the latest pots - those fired last term - have finally been collected from City Lit, and unwrapped. Most are stowed in a safe place, away from the dust and danger of carpentry, but a few didn't fit into that space and are yet to be put away -
Fired pots in a line, and some stitched pots with ceramic aspirations
What I'm after lining up, though, is a few exhibitions to go to, based on a browse of the latest Art Quarterly magazine. Many are ending in the next few weeks, and others are coming up. Some involve train trips and/or days out. They are listed in order of finishing date, for those currently showing, and starting date, for future exhibitions.


Cornelia Parker at Frith Street Gallery (both sites) to 21 June

Anderson & Low: Voyages at Science Museum to 25 June

Woodcuts at Pallant House, Chichester, to 25 June

Giacomo Balla at Estorick Collection till 25 June

Alice Neel at Victoria Miro till 29 July

Artists Voices at The Lightbox, Woking, to 30 July

Hokusai at British Museum till 13 August

RA summer exhibition, 13 June to 20 Aug

Chris Ofili tapestry at National Gallery till 28 August

Gillian Ayres at National Museum, Cardiff, to 3 Sept

Raphael drawings at the Ashmolean, Oxford, to 3 September

Eric Gill at Ditchling Museum of Art + Craft, to 3 Sept (train to Hassocks and then a 2-mile walk)

Adrian Berg at Hall Place to 3 Sept (15 min walk from Bexley station

Grayson Perry at the Serpentine Gallery to 7 Sept

Giacometti at Tate Modern till 10 September

Queen of Ightam Mote till 23 Dec (train to Tonbridge then bus 222 (hourly) plus 1.2 mile walk)

Creatures and Creations at Waddesdon Manor till 10 October (train to Aylesbury Vale Parkway, then taxi or bus 16/17/18)

Edward Bawden at The Higgins, Bedford, till 28 January

Balenciaga at V&A to 18 Feb


Painting on the Edge at Stephen Friedman, 8 June to 29 July

Walthamstow School of Art at William Morris Gallery, 9 June to 10 September

Quentin Blake at Jerwood, Hastings, 14 June to 15 October

Howard Hodgkin at The Hepworth Wakefield, 1 July to 8 October

Frieze Sculpture in Regent's Park 5 July to 8 Oct

Emma Hart at Whitechapel Gallery, 12 July to 3 Sept

Charlotte Hodes at Wolverhampton Art Gallery to 3 Sept

Plywood at the V&A, 15 July to 12 November


... plus, in terms of days out

  • York's ceramic museum (and its railway museum); 
  • much to see in Liverpool; 
  • Yorkshire Sculpture Park (train to Wakefield); 
  • lots to see in Manchester, eg the Whitworth 

and further afield:

  • Edinburgh, especially the Scottish National Galley of Modern Art
  • Paris!!

But let's not get too excited ... here is some calming "nature" near home, nicely lined up -
Horse chestnuts lining the road to Alexandra Palace

03 June 2017

Been shoppin'

The lure of the "my waitrose" card, with free coffee and the price of the newspaper taken out of the rest of the shopping, sends me to that supermarket on a Saturday morning - the weekly shop at Waitrose was a comforting(?) ritual while I was living in Kensal Rise, a sort of continuation of "the old life" with Tony, and now it's another punctuation point for the week. Drawing Tuesdays, Shopping Saturdays - they anchor the days.

It's a short walk to the store in Crouch End, but ... "how you gonna keep 'em down on the farm after they've seen Paree"? The store on Finchley Road, the old haunt, has so much more space, so much more stock.

I love to look at all the wonderful things that are available, including the things I feel ever-so-virtuous about not buying. (Pastries; most meat; overpriced olives; overpackaged anything.)

Another factor of enjoyment is the building that houses the Finchley Road store. It used to house a branch of John Lewis - John Barnes - in whose fabric department, in 1975 or 76, I bought bright green fabric for making the roller blinds in the kitchen in the Yorkshire house - a north-facing kitchen that had cheerful yellow formica counters and a (hard, cold) quarry tile floor - remember how fashionable quarry tiles were? remember those kits for making roller blinds?

the building looks to be 1930s; it is rumoured that "back in the day" the company looked after its employees and housed some staff there, and that there was a swimming pool in the basement (the basement is now a parking lot for Waitrose customers, with pillars inconveniently located). It's a rather desirable address.
A little research (in wikipedia) finds that the John Barnes store was opened in 1900 and "occupied the site of 14 shops and several houses and included a central passenger lift. The store occupied four of the floors, and there was accommodation for over 400 members of staff." It started making profits in 1905, and became part of the John Lewis group in 1940. "In 1926, the business was purchased by the newly formed Selfridge Provincial Stores group. With the purchase major changes were brought in to modernise the business, including no staff living on the premises. The business was so successful that in 1935 the store was completely rebuilt in the fashionable style of the time by a design from architect T P Bennett. The new store was located on three of the eight floors, with 96 flats on the upper five floors." The opening of a John Lewis at Brent Cross shopping centre in 1976 affected business, and John Barnes closed in January 1981; Waitrose opened on the ground floor in February 1981 (it had been in the basement).
Heading home with heavy bags

02 June 2017

Micro-renovations

The macro-renovations have extended to moving the furniture around, in preparation for the other bookcase. The desk has taken "fireplace position" and apart from the spacious corner (soon to disappear) it's all feeling rather constricted. One can move easily between the seating and the coffee table - I can get to the desk without knocking anything over - 
The desk feels vulnerable - there's space on either side, and if it gets too crowded things will fall over the edges. Where to put things, mid-project ... well there's the coffee table behind the chair, and there are numerous drawers, which obviously need a re-think. 

They are orderly, but very full. And that means just one thing - sorting and discarding. So far I've managed one drawer, into which go the CQ newsletters, which are needed for checking when the latest issue is being prepared -
 What came out of that drawer was all my chinese-learning materials. I haven't studied Mandarin for over 10 years now, and have forgotten 99% of the characters I could recognise, but my hard work at the time must have paid off in some way - looking through the books and flashcards I could make sense of some things, and recently when overhearing a conversation I'm still able to understand phrases and sentences here and there.  And there was the sheer enjoyment of learning a language that's so different and seemed so impossibly difficult.
The girl in the photo is Tian, English name Tina, young daughter of a student from Xian who tried to help me with conversation. She's now almost finished training to be an architect  - how quickly time passes.

Coming across this bit of fun made me realise how much upkeep language skills need - it's unimaginable now that I'd be able to do crossword puzzles using chinese characters, no matter how many dictionaries were to hand -
I haven't discarded these things, not yet, and still have a lot of books like "100 essential chinese characters" and DVDs for practising listening. Chinese lessons on the internet were just in their infancy then. Every now and then I open up my Chinese dictionary and look and enjoy.

Which is easier, getting used to a new furniture arrangement - or sorting and discarding - or learning a language?

01 June 2017

Poetry Thursday - To My First White Hairs by Wole Soyinka

Then ... (via)
To My First White Hairs

Hirsute hell chimney-spouts, black thunderthroes
confluence of coarse cloudfleeces - my head sir! - scourbrush
in bitumen, past fossil beyond fingers of light - until . . . !

Sudden sprung as corn stalk after rain, watered milk weak;
as lightning shrunk to ant's antenna, shrivelled
off the febrile sight of crickets in the sun -

THREE WHITE HAIRS! frail invaders of the undergrowth
interpret time. I view them, wired wisps, vibrant coiled 
beneath a magnifying glass, milk-thread presages

Of the hoary phase. Weave then, weave o quickly weave
your sham veneration, Knit me webs of winter sagehood,
nightcap, and the fungoid sequins of a crown.

(found in Poems on the Underground)


Wole Soyinka (b.1934) says "I did not set out to be a political dissident" and goes on:
I think I was born one. Or maybe...it was something I ate as a child, something that entered my system and took roots in my vital organs. My earliest recollected act of revolt—apart from routine childhood rebelliousness—was to take on the class bully and organise a collective force to draw his fangs—an alliance made up of the tiniest of the lot that were his favourite targets, I among them. The class bully is cut from the same cloth as the political bully, torturer, and killer. And he graduates from extortions from weaker classmates to the expropriation of a nation—with violence. I understood the ramifications of power very early, perhaps abnormally early. I learnt to recognise an axis of Power and Freedom, and I placed myself on the arm of the latter.

He won the Nobel Prize for Literature in 1986. 
... and now (via)