Now that Spring is really here, and in John Clare’s happy words
The trees still deepen in their bloom
Grass greens the meadowlands
And flowers with every morning come
we can really start looking forward to the arrival of the swallows and swifts, since the daffodils have already dared. I love the changing lengthening light of Spring, and the suddenness of the long-awaited transformation, when everything charges out at once.
I’m continuing work on my series of Books of Hours, or contemporary illuminated manuscripts, on the theme of the passing year, working with different forms of the book. Some of them are very large, but The turning year is made from a single sheet of handmade ‘elephant’ paper (70cm x 50cm), torn and folded not into my usual cyclic sequence of pages, but this time as a continuous flow, starting at one end and following a fluid timeline which pours off the other end. The full sheet, before tearing and folding looked like this:
and the sequence of pages like this:
This was a lovely sheet of paper to work with, as it had beautiful irregular deckle edges, with even a few tags of paper floating at the corners. I particularly like the lively uniqueness of each handmade sheet, and enjoy including its quirks into the book’s character. The torn and folded sequence of pages looks like this:
My preoccupation with rivers, seas and watery places is reaching flood level as I prepare for Watermark, my exhibition in the Ice House gallery in Holland Park, which is open daily from 7th to 22nd May, 11am to 7pm.
I’ll be showing waterfalls in clay, driftwood signposts, several kingfishers, fountains and storms, tall ships and circling seas, as well as Van Gogh’s clouds and swallows on the Thames – and during May I’ll be showing some of the works in the exhibition here in my May post.
Meanwhile, I have been doing some other work, including a very enjoyable commission for a portrait of a thatched cottage, in my ongoing series of architectural low-relief sculptures.
I’ve been making these for 25 years now (my first was in 1986), and I must have made many hundreds by now – I love the individuality of each subject, and really enjoy how a likeness develops through the process, so that the finished portrait becomes a very tangible image of the house. I made this one in terracotta – the same clay as the bricks – but I use stoneware for a stone-built house. I have made a portrait of a Swiss log cabin, but I did it in clay, rather than matchsticks. Some more examples can be seen on the Architectural reliefs page, and commissions start at £200. I welcome enquiries about commissions – you can leave me a note in the comments box below, or if you prefer, click on contact details for other ways to get in touch.