Yesterday, before the news of the Christchurch killings came in, I was hunting for something in my room and I found a watercolour brush that had fallen on the floor. I don’t know, because I’ve never painted in oils or acrylic, whether painters in those media treasure particular brushes, but I know watercolourists do. Brushes for particular purposes, there’s one brush I only use for correcting and removing paint, it’s a cheap as chips student range brush but it’s perfect for the job. The brush on the floor was a top of the range sable brush. When I picked it up it seemed to speak to me – use me. I put it back in its tube and thought no more of it until this morning. Then the hate words started spilling into the room through the internet and I felt suddenly that words – the medium I’ve lived and worked with all my life – had become tainted by association. There’s no more devilish weapon than the tongue, and its works. Words have consequences, but drawing and painting are silent, contemplative and so much more eloquent about the experiences that lie beyond language.
So, with due consideration for the weather forecast, we took the bus into Bristol today to see a couple of exhibitions. On the bus stop there was a person dressed in fatigues, with a bedouin style scarf completely covering their head and the whole assemblage topped by a pair of blue-tinted motorcycle googles. There was not a square centimeter of human being exposed anywhere. They were genderless and without any clue as to who they were. They got on to the bus carrying a snooker cue and got off the bus at Temple Meads. Puzzling.
We went to see an exhibition of new sculpture and one of Henri Gaudier Brzeska’s drawings and sculpture at the RWA. Sculpture, after years of playing second fiddle to almost any other visual art form seems to be in rude health at the moment, and Gaudier Brzeska’s drawings have not dated in the same way as his sculptures. Does that sound like faint praise? It’s not meant to. We agreed that his drawings are really wonderful. One of the faintly condescending comments on the wall suggested that he was “self taught” – as if that accounted for some deficiency in his work. Come on – all great artists are self-taught, only the mediocre ones rely on tricks they learned at art schools.
The Leonardo drawings at the City Museum were so small, and the gallery so crowded that you’d have done better with a decent book. As we left we were directed into the inevitable ‘experience room’ where there were drawing materials and books available for anyone to have a go. I was absolutely ready to dismiss this as yet another attempt to make art relevant and educational at the same time until I spotted a man who didn’t fit at all into the usual suspects category (like us) who was copying a drawing with rapt attention. If I eat my hat can I spit the label out? I should have remembered the extraordinary gifts of some of the men I taught in prison. As I write this I can see him, completely unselfconscious and absorbed in his task, putting me and my selfconciousness to shame.
Back down then to the bus station via Christmas Steps where we stopped for me to photograph a building that my grandfather came out of retirement to work on when he was 72. He was what’s known as a ‘generic builder’ – a carpenter by trade, for whom timber framed buildings were familiar from decades of experience. At the base there used to be a very good chippie but it’s gone now. Bristol was our ‘home city’ for many decades but now it’s easier to catch a bus than to negotiate its ever more sclerotic traffic system. When we got home I found a box of Jiffy 7 modules on top of the piano so while I cooked, Madame sowed seeds. Tomorrow we’ll be marooned in the flat for most of the day by the Bath Half Marathon, but if we defy the stewards and run across the road we might be able to get to the allotment for a few hours.