In case you don’t know, Ms Farhi was a successful fashion designer who began her professional career with French Connection but went on to found, and later sell, her own label. Mentored by the sculptor, Eduardo Paolozzi (“He is in my soul, I still hear him”), she began to sculpt in her own right, something which she now does full-time.
One of my favourite blogs here on WordPress is The Sculptor’s Wife. Written by Tamsin, the partner of Sam Shendi, it details the trials and achievements of a successful artist through the eyes of his wife, along with her own attempts to draw and write while bringing up a young family. In one post, she quotes someone saying that sculpture is “the thing you bump into when you step back to look at a painting” – I’m ashamed to admit that has often been my view.
Nicole Farhi’s work is wonderfully tactile: knobbly heads of friends and celebrities such as Dame Judi Dench and Bill Nighy, the wide expressive hand of Paolozzi, the eggshell-smooth expressive arm of a dancer. Resisting the urge to touch and feel, I could have spent hours in that room – and I’m sure I’ll return before the exhibition closes in June. My friend and I both stood in front of our favourite pieces and explored their intriguing contours by drawing them in pencil in our sketchbooks (mine is above). It was wonderful, inspiring work to see and contemplate on an unseasonably warm February afternoon in Suffolk.
Faces and bodies have occupied me for the past few weeks. Most Wednesday evenings I attend Annabel Mednick‘s life drawing classes in Ipswich. They are a fascinating collaboration with her model, Blue King, and cruising is not an option. Close observation and energetic mark-making are the order of the evening: Annabel pushes you out of the secure womb of your comfort zone into the world of taking chances. Two years ago I told her I wanted to draw more loosely, more freely, less prettily, and over the past few weeks I finally feel I’m getting there. It has taken that long to summon the courage to let go and not feel I’ve failed if I haven’t produced something you might want to hang on a wall.
I realised last week, standing in front of a particularly engaging head by Ms Fahri, that what I was trying to do was to achieve in charcoal and paper something of the energy that she teased out of clay and bronze: “I talk to the to the clay, and eventually a recognisable form emerges… It’s a miracle!” In my own small way, I think I’m getting there.