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Embroidery disguise
A quick-ish disguise for a 5p/dime-sized permanent pen stain on my shirt. Blends in a little bit more than before.
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A quick-ish disguise for a 5p/dime-sized permanent pen stain on my shirt. Blends in a little bit more than before.
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The back of a piece by Henri Gaudier-Brzeska at the Tate Liverpool as part of the DLA Piper Series: Constellations. Neat to see the backs of some major artists’ work. Remember: MUST BE STRAPPED.
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Another favourite part of the 2014 Liverpool Biennial, Claude Parent’s La colline de l’art in the Wolfson Gallery on the ground floor at the Tate Liverpool.
Particularly enjoyed the way the light was diffused and altered for works with very reflective surfaces or cases.
I really enjoyed Liechtenstein’s Moonscape, a screenprint on iridescent blue plastic. It seemed smaller and more experimental than his more famous pieces, and more reserved. You walk up a long ramp in Parent’s space to reach the piece and end up viewing it on a raised platform, a dead-end and the highest point in the gallery. That’s where I took the iffy panorama above. The photo doesn’t do it justice, but hopefully it gives an impression of the extent of Parent’s architectural intervention within the space.
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No, we don’t take every single guest to Yorkshire Sculpture Park… Why do you ask?
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Part way through a commissioned drawing of a Yorkshire farmhouse. Finished it back in May, was a lot of fun to do a detailed piece of drawing again.
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Impressive installation by Mark Bradford at the MCA Chicago in 2011. Great space, great work.
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Making an Enzo Mari-inspired desk back in late 2010.
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Henry Moore’s signature, the mark of Bildgießerei Hermann Noack and a little sheep poo on one of Moore’s bronze sculptures in Yorkshire Sculpture Park.
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What a sentence! Never forget the Right Honourable William Huskisson MP, possibly “the world’s first widely reported railway casualty”. People just don’t write tributes like they used to, eh? Just one of the many treasures in the National Railway Museum‘s warehouse.
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