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p u b l i s h e d to m a r k t h e d e p a r t u re f ro m Cra n s to n R o a d

,
a n d t h e co m p let io n o f t h e n e w Pa r k R o a d s tu d i o

I m a ges a n d tex t by J o h n S c a r l a n d Fro nt cove r
ii
Wi n g s
te l 4 4 ( 0 ) 1 3 4 2 3 1 1 3 5 0 o i l o n c a nva s
e - m a i l i n fo @ s c a r l a n d. co. u k
w w w. s c a r l a n d. co. u k Fro nti s pi e ce
E n tra n ce
co py r ight © tex t 2 0 0 9 J o h n S c a r l a n d o i l o n c a nva s
co py r ight © im ag e s 2 0 0 9 J o h n S c a r l a n d
B a c k cove r l e f t
mus i c i a n
Al l r i g ht s re s e r ve d. N o p a r t o f t h i s p u b l i c at i o n m ay wate rco l o u r
b e re p ro d u ce d o r t ra n s m i t te d i n a ny fo r m o r by a ny
me a n s, e l e c t ro n i c o r m e c h a n i c a l, i n c l u d i n g p h o to gra p hy,
reco rd in g o r a ny ret r ieva l s ys te m, w i th o u t pr i o r
p er m issio n in wr i ti n g f ro m th e pu bl i s h e r

S e pte mbe r 2 0 0 9

Pr i nte d i n H o l l a n d
iv
ga p in th e fen ce

Jo h n S ca r l a n d v
review : 1990 - 2008
conte nt s

vii
introduc tion 9

a transfiguration of touch 11

symbolic ar mature 27

a visionar y place to be 43

prophetic transfer 85

angel cake 101
viii

self por trait confined
charcoal
I ntro duc tio n

I lay in the dr y grass high above the English Channel, it is ver y war m.
Ruth, lying in the sun reads her novel while I hold a new drawing book
in my hand.
I make a drawing of the wide prospec t beyond, then, mildly bored I
begin to draw myself, not how I appear - but how I feel.
For some reason I draw myself in a nar row space.

There were t wo drawings in my book as we lef t, one of the distant sea
and one of myself.
Walk ing home - I glimpse other for ms within myself, for ms that will
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soon come to light, it is as if I lean against the door post of my own
awareness, while br ight visual pack ages are passed to and from the
mind,
For me it is an unexpec ted prospec t.

For t went y years I had wor ked as a car penter, mak ing all sor ts of things
from wood as requested by the client.
M y mind and hands were adept at translating t wo dimensional drawings
into solid for ms,
Now life is about the opposite - it is about render ing objec ts as
drawings,
A reverse mapping if you like, of the undulating land or my shy inter ior
for ms.

This book is about a car penter ’s reverse mappings that have occur red
since that day by the sea.
a transfi g urati on of touc h

a t ran s f i gu rati o n o f to u ch 11
a tran sf iguratio n o f to uch

12

S ketch for Nu ptial
c harcoal
a l ate d raw i n g th at attempts to d i splay the
i nte r i or and ex ter i or sur face
a transfi g urati on of touc h

a tra n s figuratio n o f to uc h

Ar t took me in the late eighties. I n a previous life I was a gardener and a
car penter, now I am a painter, an explorer and one who weaves strands
of life into pic tures.
The ear ly 90’s found me preoccupied with a search to find a
visual model that would display the phenomena we call touch. I t was
easy to draw t wo people touching as viewed by a third par t y, but to
deliver the sensation of touching and being touched via the retina
instead of the ner ve endings proved an engaging problem. This t ype of
problem solving has always dr iven creativit y in me, forcing visual and
conceptual exper imentation with line and colour over many years.
I had by now been wor k ing on a dress projec t for a Nuptial ser ies
that considered real volume by look ing at the container. R ather as one
would perceive a foot by seeing a footpr int, in this projec t I looked
at a dress inter ior in order to visualize the contained body for m. This 13
did involve a cer tain amount of visual ex trapolation to br ing about a
convincing image but never theless proved a helpful star ting point.
S p at ia l d ress d rawin g
I found that the dress panels were designed to enhance the body
shape and our perception of it, along with the prac ticalities of fabr ic
joins. The seams were positioned with an eye to aesthetics and female
symbolism. With the notion of a contained person and sense awareness
I developed a map of contac t bet ween dress and person. A map that
would display the message of the seams.
Cubism and its fascination with the four th dimension appeared
helpful at first as I pursued a sor t of ‘sof t cubism’ but the theor y
sur rounding that ‘ism’ was cerebral and my dr ive was an emotional one,
generating a ver y different patter n of think ing. While the cognitive
objec tive was not dissimilar, I wanted to communicate first and foremost
a sensation of the for m, to the point where one k new what is was like
to be within the dress.
hands held
a tran sf iguratio n o f to uch

14

E m b ra ce
o i l o n c anvas
a transfi g urati on of touc h

M y touch projec t was now built around holding hands. Holding
another person’s hand is an elec tr ic thing. There is that transfer of
touch to another living being and their comm unication in response.
B e it comfor t, greeting or passion, the drama expands in ever y way.
To translate this to an image, I explored some ther mal mapping and
contac t pr ints with little success. While drawing the imagined voids
within hands held, adding in some visual references, recording the
var ious tissue densities and sur face qualit y I found a ver y charged and
sexual message emerged.
Natural progression led me to the ‘embrace’ with encircled ar ms
drawing the torsos together thus pr inting their personal topography
on each other. Still without any real for mula for this wor k ‘embrace’ lef t
me in some sor t of melt down. As soon as hor izons were indicated the
sense of self awareness retreated. How to reproduce the gyroscopic
balance and four dimensional sense was a tall order. I moved through
some sor t of cross sec tion pieces like Uni to what at the time was my 15
best effor t in Embrace. The route in the end to these images was by
holding someone and with closed eyes, mentally referencing points
of conscious awareness. M y self commissioned br ief was to transcr ibe
the ner vous system’s messaging and deliver it to the brain via a retinal
exper ience instead; a sor t of emotional alchemy. A ter r ific idea but
sadly beyond the bounds of possibilit y.
The plus side of such impossible venture became apparent both
on the way and at its ultimate conclusion. Adding a third person into the
embrace took me to reunion or depar ture, as when t wo help a injured
person, giving r ise to the Reunion and Release of a friend pic tures.
The Crosby ser ies prompted a fur ther development into Interior, an
impor tant ser ies track ing the metamor phosis of the Reunion image
through to a new representation of feeling and k nowing. This rather
U n i d ra wi n g emblematic view of the self, pointed the way to the nex t per iod of
ch a rco a l wor k .
a tran sf iguratio n o f to uch

16

dress stu dy
g ouac he
a transfi g urati on of touc h

‘ I wa nte d to co m m u n i c ate
f i r s t a n d fo re m o s t a s e n s at i on
o f t h e fo r m , to t h e p o i nt
w h e re o n e k n e w w h at i s was
li ke to b e w ithin the d ress.’

17

Nu ptial
o i l o n board
a tran sf iguratio n o f to uch

18

Ha n d s h el d
gouache

H ome
oi l on hi ng ed panels
a transfi g urati on of touc h

19
a tran sf iguratio n o f to uch

20

S l ee p draw ing
bi ro
a transfi g urati on of touc h

21

Sl e e p
go u a ch e
a tran sf iguratio n o f to uch

Three figu re stu dy ii
22 c harcoal

Th e rath e r be a u ti f ul R elease of a fr iend was
co n ce i ve d a s a physi c al representati on of a
m e nt a l o r e m o t i o n al state. Here one person
i s te n d e r l y l i f ted from a dar k pr ison like
place by other s.

Th re e fi gu re st u d y i i v
ch a rco a l
a transfi g urati on of touc h

23

Th e rel ea s e o f a f r i en d
o i l o n bo a rd
a tran sf iguratio n o f to uch

24
a transfi g urati on of touc h

Reun i o n
o i l o n bo a rd

A l ate s o l u t i o n to
th e th re e f i g u re
co mpo s i ti o n s

25

A s e l e c t i o n f ro m
t h e C ro sby se ri e s
Gouache
symboli c ar mature

s y m bo l i c a r matu re 27
sym bol ic a r mat ure

28

Th e te mpo ra r y pa i nti n g s tati o n i n th e g a rd e n at Cra n s to n R o a d
symboli c ar mature

a s y m bo l ic a r m ature

The developments cited in these chapters were not isolated
chronologically, but were, at times, occur r ing simultaneously with other
wor k . M y desire to penetrate the for m was realized with a piece called
the b eaut y of sadness. B y substituting the expec ted physical organs
with a decorated inter ior, I opened for myself new hor izons. Leaving
aside the sensor y side of the self awareness in the touch ser ies these
pieces were still focused on the emotions but move to a symbolism
to convey the feelings. B eaut y of sadness began the removal of body
sur face and outline that I had studied so carefully at life class. I went
on to construc t a language of new for ms where we would recognize our
core beings without that fashionable sk in. The figures in sunshine and
interac tion were t ypical of this ear ly wor k .
I took it into my head to change my patter n of wor k for a week , I
29
erec ted a 2M x 1M board in the garden and ever y day painted a coloured
sketch in household emulsion, photographed it, and promptly erased
it. From these pr ints I would make small paintings from large sketches.
G ap in the fence was one such wor k , applauding the oppor tunit y we
have to step outside the mediocre and dance in the sun.
With this human essence por trayed as a s ymbol, modeling mood
seemed a possibilit y. I developed some drawings for ‘good days and
bad days’ using var iations of the symbol within coloured spaces. Placed
side by side one can read the movement of feeling exper ienced day by
day. For over a decade I employed the fundamentals of this method to
reach past the recognized flesh and blood to por tray our universal core
sensation.
D ur ing this time a chance encounter with a derelic t bus in the
White M ountains of Crete gave r ise to new body of wor k . With the bus
as a metaphor for life/jour ney I could fill it with ‘people’ as I now saw
Drawin g fo r su n sh i n e
ch a rco a l
them.
The broken bus had a dar k and oily subter ranean zone with a
sym bol ic a r mat ure

30

Figu re ser ies exp er iment
c harcoal
symboli c ar mature

white and shiny domed ceiling giving the heaven and hell symbolic
over tone for the r iders in bet ween. I star ted mak ing copper figures to
use as models for the drawing that would become the Bus ser ies.
M ar k ing the conclusion of this group of paintings and the
advent of the visionar y wor k was the large cur ved painting Por trait of
a young woman. (see p41) Here again I opened up the figure, peeling
back the layers without losing the essential physical presence of the
young woman. Within the figure I devised a symbol for life represented
by a small blue protruding ‘ tongue’. I t appeared as that shy but living
essence that is the soul of a person. Ver tical divisions gave places for
joy and sadness, those unavoidable segments of realit y.

31

G ap i n th e fe n ce
o il o n ca nva s

i n te ra c t i o n
o il o n ca nva s
sym bol ic a r mat ure

32

a charcoal sketch for a
D epar tu re pai nti ng

Th e b ea ut y o f s a d n es s
o i l o n c a nva s
symboli c ar mature

33

Tr y st
Cha rco a l with a dded co lo u r
sym bol ic a r mat ure

34
symboli c ar mature

‘ap p l au d i ng the o p po r tu nit y
we h ave to step o u t side the
me d i ocre a nd da nce in the s un’

35

S uns hi ne C l ow n
o il o n ca nva s o i l o n bo a rd
sym bol ic a r mat ure

B us s p a ce
co l o u r o n co ate d paper

36

Fi g ure s ketc h f o r bu s
wate rco l o u r

S ea ted f i g ure
c h a rco a l

a prelimin a r y figu re d rawin g fo r t h e b u s i nte r i o r s. Th i s d raw i n g
wa s use d in B u s II a n d B u s IV a n d c a n b e s e e n i n t h e u p p e r l e f t
p o r t i o n o f t h o s e wo r k s.
symboli c ar mature

Th e B u s s e r ies

37

B us IV
o i l on c anvas
sym bol ic a r mat ure

38

S ea ted f i g ure
s o l d e re d co pper on oak
pl i nth
symboli c ar mature

39

G o o d days and bad days
g ouac he
sym bol ic a r mat ure

p o r t ra it o f a yo u ng wo m a n

l e f t & r i g ht
L i f e s tud i es
gouache

St u d i e s o f S u e, t h e yo u n g wo m a n w h o
wa s th e s u bje c t fo r Po r t ra i t o f a yo u n g
wo m a n’

40

r i g ht
Por trait of a you ng woman
oi l on c anvas

A l a rg e slightly cur ved 1.8M canvas
w i t h s m all hinged side panels. I t was
c u r ve d to wrap the image around the
v i e we r, f illing the range of vision and
i nc reasi ng the i llusi on.
I n s o me li mi ted way, becomi ng the
young woman.
symboli c ar mature

41
a v i si onar y place to be

a vis i o n a r y pl a ce to be 43
a v is ion a r y pla ce to be

44

Pi cn i c
go u a c h e
a v i si onar y place to be

a v is io n a r y pl a ce to be

I have always been attached to the land; more of an umbilical
attachment than an affec tion. As a young man I wor ked on the land, I
ploughed land and smelled the ear th. I k new t wilight, I exper ienced the
rain. Not sur pr isingly, when I began to paint I painted the ear th. O ver the
years my mode of representation moved to an awareness of a k indred
spir it present in the ear th. I love the ear th. I wor ked through themes
of har vest and husbandr y, of feasts and picnics. I developed family
groups in idyllic situations, a pastoral dream like Virgil ’s ‘G eorgics’.
This was heady stuff, and eventually passed, but my link with ear th
remained strong. I took to wor k ing outside in a more unconventional
way. I k new of many winter ponds that for med in winter woodlands and
45
in the ear ly spr ing sunshine took my watercolours to these locations. I
slid the paper into the brown water and a ser ies called ‘standing water ’
began. I imbibed the colour of the air, placed woodland litter on the
paper as masks and then poured pigment on to saturated paper with
new and exhilarating results. Not content with this I took to the Nor th
D evon beach for a group of watercolours called ‘Atlantic beach’ at the
water ’s edge.
N ight drawings followed, walk ing to places I k new, using candles
when the moon did not shine on my paper, to draw unk nown things
that the night ear th gave me. I was always seek ing a rappor t with these
places, tr ying to fix this ancient har mony to share with others who may
understand.
a v is ion a r y pla ce to be

S tud y o f t wo f i g ures
gouache

D o ug
gouache
46
a v i si onar y place to be

47

s tu d y fo r Wa r r i o r herdsman
c harcoal
a v is ion a r y pla ce to be

La n d s tud y
48 c h a rco a l
Pa r t o f s o m e a n c i e nt wo o d l a n d t h at I k now
i nt i m ate l y, I re c a l l m e nt a l l y s t r i p ping much
o f th e tre e a n d ve g e tati o n away i n ord er to
‘s e e’ t h e e a r t h fo r m .

fac i ng pag e
R e sp i te s tud y H u sbandr y
ch a rco a l oi l on board
A d e e p s y m b o l i c i m a g e of a man graf ting new plants
o n to p re p a re d ro o t s tocks. I t car r ies over tones of
n e w l i fe a n d f r u i tf u l n e s s. The man wi th hi s d ecorated
c h e s t ex te n d s the concept of t wo natures.
a v i si onar y place to be

49
a v is ion a r y pla ce to be

Figu res by a r iver
50
oi l on c anvas

Co up l e
wate rco l o u r
a v i si onar y place to be

51
a v is ion a r y pla ce to be

52
The chi ld
o il o n ca nva s

Fea s t
Gouache
a v i si onar y place to be

53

S um m er ta b l e
gouache
a v is ion a r y pla ce to be

54

G ard e n o f d e l i gh t s
g ou a ch e
a v i si onar y place to be

55

Co l o ured h ea d
o i l s ti c k o n bo a rd
a v is ion a r y pla ce to be

56

Pi cn i c
Gouache
a v i si onar y place to be

57

Fi gu re st u d y
p en cil
a v is ion a r y pla ce to be

58

Wa k i n g to th e s i n g i n g o f b i rd s
co l o u re d d raw i n g
a v i si onar y place to be

59

Wa k i n g to t h e si n gi n g o f b ird s
o il o n c a nva s
a v is ion a r y pla ce to be

60
Pi c n i c
bi ro d raw i n g
a v i si onar y place to be

61
a v is ion a r y pla ce to be

62
Pi c n i c
o i l o n c a nva s
a v i si onar y place to be

63
a v is ion a r y pla ce to be

64

Co ok i ng fo o d
init ia l drawing o n p r im ed ca nva s
a v i si onar y place to be

65

Co ok ing fo o d
oi l on c anvas
a v is ion a r y pla ce to be

66

S hoppi n g
biro drawin g fro m a sketc h b o o k
a v i si onar y place to be

67

La rge picnic
o i l on board
a v is ion a r y pla ce to be

68

Pl a yer i Pl a yer i i
wate rco l o u r wate rco l o u r
a v i si onar y place to be

69

D a n c ing figu res
o i l on c anvas
a v is ion a r y pla ce to be

70

Co u p l e d a n c i n g
glo ss p a int
a v i si onar y place to be

71

Two wo m en by a r i ver
o i l o n c a nva s
a v is ion a r y pla ce to be

72

St u d y fo r ‘A s i g h t o f th e s ea’
go u a ch e
a v i si onar y place to be

73

Fi g ure g ro up
wate rco l o u r o n c a rd
a v is ion a r y pla ce to be

74

Standing water iv
watercolour
a v i si onar y place to be

75
a v is ion a r y pla ce to be

76

Standing water iii
watercolour
a v i si onar y place to be

77

Standing water viii
watercolour
a v is ion a r y pla ce to be

78

Atlantic b each ii
watercolour
a v i si onar y place to be

79

Atlantic b each v
watercolour
a v is ion a r y pla ce to be

A day free, a nd yet even by 5p m , u n p ro fit a b le
I wish to be unco u p led fro m t h e t ra in
6.30 a nd da r k
I will g o a nd draw u n d er a b ig ro ck in t h e n ight

Pa per a nd ca nd les, p en c ils a n d lighter.
H at a nd ex t ra t ro u sers th e ni ght
I squat here, de ep in t h e ro cks drawi ngs
I sme ll leave s, da m p a n d ca n d le wa x
The a ncie nt sa n d sto n e su r ro u n d s m e
Dista nt tra ffic an d t h e n o r t h west win d in t h e h o l l y.
M y ca ndles will n o t la st lo n g
I lo ng to feel, to b e j o in ed to a n o t h er
To a llow the e m ergen ce

Think ing is a n e n d less m ill

I draw wit hout th o u ght

M y ca ndles a re o u t a n d t h e d a r k clin gs u n d er t h e ro c k
B eyo nd the mo o n is u p.
80 I move a nd sit on t h e low b ra n ch o f a silver b irc h
D og s ba r k

There is no rush n ow fo r t h e c a n d les a re red u n d a nt
I wa it fo r the rem a in in g c lo u d to c lea r fro m t h e we s t

Ca na da g eese cr y, a u d ib le o n t h e water

I st a re at the clou d s p a ssin g over t h e m o o n , a n d
A spider wa lk s over my p a ge
All is bea ut iful – h a lf light

I draw wit hout th o u ght.

The cloud clo se s over a n d t h e geese a re q u iet
The mo me nt ha s p a ssed N i g h t draw ing
conte
I lie full le ng t h in t h e b ra c ken
And doze in the q u iet a n d t h e co ld

O wls ca ll

The co ld a ir fold s over my p ro n e b o d y
I a m lo ath to leave
Lo ath to ret ur n to t h e o t h er p la ce
a v i si onar y place to be

81

Ni gh t fi gu re s
o il o n c a nva s
a v is ion a r y pla ce to be

82

Lo c at io n wh ere b ird s o n g i n a th i c k e t wa s pa i nte d
a v i si onar y place to be

83

B i rd s o n g i n a th i c ket
o i l o n bo a rd
propheti c transfer

p ro ph eti c tra n sfer 85
proph eti c t ra nsfer

86

O d ys s ey
c h a rco a l
propheti c transfer

pro ph etic tra n s fer
Ear ly in 2005 I read Isaiah, the biblical prophet from the troubled 8th
C BC. Here is a tex t with gravit y and ser ious beaut y. I scanned all 66
chapters one evening and with about 10 A4 sheets to the chapter,
pasted them as an epic poem on the wall of my studio in the ear ly hours
of the mor ning. I t was awesome. I t is about the madness of wrong,
about impending invasions, and simultaneously laced with beautiful
invitations to be reunited with G od.
The nex t wor ld is a ver y shor t step away and this transfer we call
death has intr igued me for some time.
The recur rence of the Fer r y crossings in my wor k is invar iably a
reference to death as illustrated by an ear ly charcoal like O dyssey and
more recent pieces taken from drawings made aboard a cross channel
fer r y. With my convic tions in parallel with our ancient predecessor
Isaiah, the paintings are not dar k or troubled, they speak of a lively
anticipation of that grand event 87
M y leaping and flying figures are probably connec ted with this
line of think ing. They are no doubt ‘other wor ldly ’ yet not in a fair y tale
way ; there is a convincing but unexplainable realit y about them. Living
in the light of mor talit y to me, upgrades life in a way that denial fails
to deliver.

D ea th
wate rco l o u r
proph eti c t ra nsfer

88

Two fi gure s by a wi n d ow
g o ua che

Wi n g s
o i l o n c a nva s
propheti c transfer

89
proph eti c t ra nsfer

90

The l as t race
oil o n ca nva s
propheti c transfer

‘ I t is a bo ut th e m a dn es s o f w ro n g,
91
a b o ut im pen din g inva s io n s,’
proph eti c t ra nsfer

92

Fe a st o n m o u n t a i n
sk etc k b o o k d rawin g
propheti c transfer

93

Feast on mou ntain
oi l on c anvas
proph eti c t ra nsfer

As s o c i ate d w i t h t h e Fe r r y wo r k i s t h e M S C P ( m u l t i s to re y
c a r p a r k) se r i e s th e l a s t o f w h i c h i s M SC P i v o n t h e f a c i n g
p a g e. I c a m e a c ro s s a n a rc h i te c t u ra l re v i e w t ra c k i n g c a r p a r k
d evelo p m ent i n a B ro a d s ta i r s s e co n d h a n d bo o k s h o p. Th i s l e d
m e to visit a n d d raw a n u mbe r o f s i te s th at re s u l te d i n M SC P
i v . Th e a c t i v i t y o f c i rc l i n g a n d a s ce n d i n g i nto th e l i g ht o n th e
ro o f seem ed to me a me ta ph o r fo r l i v i n g.

94
propheti c transfer

95

MSCP v
oi l on c anvas
proph eti c t ra nsfer

96

Fe rr y i
go u a c h e
propheti c transfer

97

Fer r y sketch
me nta l co n cept recorded on loc ati on
proph eti c t ra nsfer

98
Fe rr y
euca lyptus wo o d

Fac i ng pag e

Fer r y ii
oi l on c anvas

A super natural fer r y i n fli g ht
D e ve l o pe d f ro m Fer r y i thi s altog ether larg er
wo r k t a k e s t h e i d e a to a new level. There is no
d o c u m e nt a i o n a b o ut such craf t - it exists only
i n my fer ti le i magi nati on
propheti c transfer

99
ang el c ak e

a n gel ca ke 101
an gel cake

102
ang el c ak e

a n gel c a k e

Drawing and painting over the years has revealed a clear rappor t with
the fragile and the vulnerable. A sensitivit y to the harsh nature of realit y
and the need for protec tion and nur ture runs through all the wor k .
Elijah the prophet, when in dire need was given raisin cake by an angel
because as he said ‘ the jour ney was too hard for you’. Elijah’s strength
was restored. S ome pieces of the wor k may ac t as a restorative.
Ear ly drawings of ten show guardians; light weight figures
connec ted to ultimate power that allow them to stand relaxed in total
confidence. I n their own r ight to begin with and later in suppor ting
103
roles. Transferred care is a classic wor k in this vein.
The mother and child theme reflec ts the needs of the vulnerable
and the sense of attachment we all long for. The motif saw many
ex tensions and var iations that of ten resonated with others who saw
them.
These wor ks are about our basic requirement; shelter and
secur it y while we live in a hazardous place. I t is angel cake for common
people.

Th e si l ve r h o rn
go u a c h e
an gel cake

Mother and child v iii
reli ef pr i nt

104

M othe r and ch i l d i v
waterco lour
ang el c ak e

105

M othe r and c h i l d x i
waterco lo u r
an gel cake

106

Inter ior stu dy ii
g ouac he

Inte ri or st u d y i
g oua che
ang el c ak e

107
an gel cake

108

S e a te d co u p l e
go u a c h e
ang el c ak e

109

Guardians
mi xed medi a

nex t pag e
Tra n s fer red care
o i l on board
an gel cake

110
ang el c ak e

111
an gel cake

S h el ter
Th e n e e d for shelter is clear.
A s h e l ter must protec t but
n o t b e c laustrophobic, it must
h ave a n openess about it for
a i r a n d m ovement. Family with
112 g ua rd i a ns on the lef t shows
s u c h a shelter, this cube like
s h a p e open on t wo sides
o cc u re d in many wor ks, later it
wa s d e veloped i nto the more
a b s t ra c t var iations shown on
th e f a c i ng pag e.

Fami l y wi t h gua rd i a n a n ge l s
gouac h e
ang el c ak e

113

Sh e l te r vi
go u a c h e
an gel cake

These wor ks are about our
b asic requirement, shelter
114
a nd s ec ur it y w h il e we l ive in
a hazardous place. I t is angel
c ak e fo r co m m o n peo pl e.

The new ro om
oil on b oard
ang el c ak e

115
an gel cake

116

Pro tec ted s p a ce
gouache
ang el c ak e

117

Tem p o ra r y s p a ce
gouache
an gel cake

118

Fo l d
gouache

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