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This was very theatrical work, almost Victorian in their suggestion of commemorative panels that you might see in a particularly tasteless church. Basically made of plaster with a backing of fibre-glass for strength. The colour was various dyes and paints. Some of which I got in Morocco. The drapery was dipped in plaster and arranged while setting. I don't know what I think of them now. Over the top springs to mind. I sold two of them, no idea what happened to the others. I had the largest most open space to show, completely due to a guy I was sharing a studio with. He was on the hanging committee and went round everyone with the floor plans so they could book a space, which I duly did. A week or so later, after it had all been built, I turned up to paint the space and it was tiny, I could maybe show two pieces hanging edge to edge. I found the guy and explained I'd read the plans wrong. He said 'I thought that space was too small for you'. By this time people were putting up work, and there is nothing more fiercely territorial than an artist hanging an exhibition, except, maybe, an art student. He took me round and showed me this space, he'd kept it back for me. Great guy. Because I was going out with Eva, who had her boy Tom to consider, I never really hung out with the other students; I never got to know any of them. When I did go drinking, which was often, it was at the Queens Elm, on Fulham Road with much older guys. |