Before I go to China . . . Henry Moore

Just a quick post before I leave for Beijing in a few hours time.

I had a few hours spare yesterday morning, before I had to go to the airport to pick my parents up from their holiday, so I made a swift trip over to Kew Gardens to see the Henry Moore show.

Large Reclining Figure, 1984

Henry Moore, Large Reclining Figure, 1984

This is a great collection of 28 sculptures, placed within the landscaping of these botanical gardens. There is a real sense of these pieces working well with their surroundings. And it’s good to see them being used!

Despite the warnings, the pieces were being used as playgrounds by children who had been dragged along by their parents. I felt annoyed at first that I wasn’t able to appreciate the pieces in some kind of ‘pure’ state, without the distraction of people clambering over them, but I soon realised this was a great way to appreciate the pieces, by interacting with them, not just viewing them from afar in stately isolation.

Of course, this brings up questions about the preservation of art, questions which usually seem to be concerned with commercial value (as in “to touch a piece will reduce it’s value”), but I actually think we shouldn’t be so precious about these works where a physical relationship adds so much to the appreciation.

In suburbia

St Richards Church of England Ham

St Richards Church of England Ham

Suburbia, for me a quasi-magical set of places. There are obviously many suburbias, I grew up in one of them, and I’ve lived in a few others, and I know there are many more out there somewhere. But I would never want to visit them on purpose. They are places you have to be, only if you have to be there – you would never just visit them on their own account, perhaps? Very often they are not even places you pass through, they’re spurs off the main roads, usually not shortcuts to anywhere else, they occupy tracts of land between the major areas, the areas with a meaning, filling in gaps. They are ringed by mini-roundabouts, protected by sleeping policemen, cul-de-sacs.

The cul-de-sac! Unless you lived in one they were off-limits. You wouldn’t enter a cul-de-sac without a definite intent, and destination (or were lost?). There was one just around the corner from the house where I grew up, I walked past it every day I went to primary and then junior school, but I have never been into it. I didn’t fantasize about it, but it remains to this day a blank place.

And what of wanderings about suburbia, the endless roads, the sameness punctuated by sudden change, the places where I was lost for a while, but then unexpectedly—and with so much relief—found the connecting path through to a known area. How terribly nostalgic it all is. It feels so dangerous, this reverie, so thoughtless. What does it mean to dwell on and in these places?

Beijing Report

Following up on the previous post, I think I should justify in some way my comments about the work I saw while in Beijing. By “justify” I mean present some kind of record and evidence for my reactions. To recap, some of the architecture, photography and sculpture appealed to me, but by and large much of this was by foreign practitioners.

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