Weekly Sketch – After Paolozzi – 19/03/2017

I visited the Eduardo Paolozzi exhibition at the Whitechapel gallery yesterday, and it fair took my breath away, leaving me inspired and a bit overexcited! All I can say is go, go, go! I especially loved the lower ground floor which included work from the 1940s through to the 60s. His early drawings, prints and sculptures really spoke to me – they were intense, energetic and (his prints) full of amazing colour combinations. His print work is so interesting because up close it is full of lots of detail, but the prints still work from far away – clever stuff.

As usual the gallery have provided an amazing catalogue to accompany the exhibition, including great images of all the work displayed. I managed to get a very good discount (alomost £10 off rrp) on the paperback from Wordery (a few remaining at a discounted price).

Here is a pen drawing from me of Paolozzi’s brutalist concrete sculpture Seagull & Fish; and then I tried to emulate the lines in a drawing of a barn owl – which I like, thought it isn’t very brutal!

And here are two images from the exhibition to whet your appetite:

Fish, collage and ink, about 1946, Eduardo Paolozzi

https://art.nationalgalleries.org/art-and-artists/38102/fish-about-1946?artists%5B20399%5D=20399&search_set_offset=30

 

Parrot from the portfolio As is When, screenprint, 1965, Eduardo Paolozzi

 

(© Catherine Cronin)

 

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And One I Missed; Gert & Uwe Tobias Exhibition

Sometimes too much choice can be a bad thing; it can paralyze you and then the opportunity is missed. Living in London I am so lucky with the variety of art exhibitions available at any given time; so many. I make a mental note to go to this one and that one and oh, don’t forget that other one; and before I know it they have closed. Ah thankfully there is the worldwide web, I can experience partially what I have missed. One that got away was Gert & Uwe Tobias at The Whitechapel Gallery.

My particular interest is in their collaborative woodcuts and collage pieces; often on quite a large scale for a woodcut. Their image making is vibrant, bold, thought-provoking, and sometimes refuses to be pinned-down. They flow though figurative to abstract in one piece, yet the image as a whole retains a strong identity.

Below an interveiw introducing the exhibition of Gert and Uwe Tobias; and some of my favourites from their work.

Video – Introduction to Gert & Uwe Tobias

© Gert & Uwe Tobias Untitled 2012; Whitechapel Gallery

© Gert & Uwe Tobias Untitled 2012, Whitechapel Gallery

© Gert & Uwe Tobias

© Gert & Uwe Tobias

Hannah Höch Collage/Photomontage Exhibition

I had the greatest pleasure in visiting the Hannah Höch exhibition at The Whitechapel Gallery; the exhibition was dedicated to her collage work. I have to admit that I had never heard of her before this exhibition; even though she was a pioneer of photomontage/collage and exploring women’s roles in society in her time. Hannah Höch was born in Germany in 1889, and lived her life through great social and political change, which she constantly questions in her work. Her work is intelligent, aesthetically beguiling and full of wry humour. I highly recommend this exhibition to anyone in London. I have posted some of my favourite images I saw at the exhibition below, enjoy!

Video – Introduction to Hannah Höch (3 of 72)

Hannah Höch, Ohne Titel, aus der Serie: aus einem ethnographischen Museum (Untitled, from the Series: From an Ethnographic Museum) 1929 Collage

Hannah Höch, Abduction (from the Ethnographic Museum series), 1925 Photomontage with collage elements, 8 3/8 x 8 11/16 inches (Staatliche Museen zu Berlin)

Hannah Höch, Sea Serpent, 1937 Photomontage, 8 3/4 x 10 inches (Institute für Auslandsbeziehungen, Stuttgart)

Walking in Shoreditch

I went on a lovely walk yesterday with my friend Ruth from I am acrylic from Shoreditch station, around the streets near Brick Lane and hence to Whitechapel Gallery to view Rachel Whiteread’s Tree Of Life on the gallery’s façade. On the way we saw two fun pieces of urban art.

(Photographs © Catherine Cronin)