I and I

“I think we are well-advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.” Joan Didion

This is number 6 in my ‘Date night‘ series—drawings of people I’d love to spend a few hours with. Imaginary meet ups with unlikely people across time.

Shiver for me now

Here we go. Leadbelly and Robert Johnson. I’m not sure if these two ever met, but they do here. I love Leadbelly. When I had to have my appendix out in a hurry a few years back, all I could think about was listening to Leadbelly again. Anyway.

‘Shiver for me now’. This is number 4 in my ‘Date night‘ series—drawings of people I’d love to spend a few hours with. Imaginary meet ups with unlikely people across time.

Kenneth Williams

Kenneth Williams as Julius Caesar in Carry on Cleo—etching on perspex. Originally I thought I’d do this as a drypoint print, but I liked how the perspex looked with the ink in, so I left it like that.

In an ideal world we would see a Sid James as Mark Anthony in Carry on Cleo next to Kenneth Williams as Julius Caesar in Carry on Cleo.

Cyanotype painting

Another cyanotype experiment. This time I tried painting something with the cyanotype solution itself.

On the first version, the plant faded to a grey-blue over a few days. Maybe it wasn’t out in the sun long enough. But the two dark blue ones look better—they each got a ton of sun.

Alan Partridge

Alan Partridge—a cyanotype experiment.

What I did was cut out various Alan Partridge shapes: hair, face, shirt, jacket and tie. The hair, jacket and tie are cut out of tracing paper, and the face and shirt are cut from thick (300g) paper. Over the hair shape I put some extra slices of paper, and on the glass that holds the whole thing down, I drew lines in the hair, the edge of the lapels, and over the tie.

The thick paper blocks almost all the light, but the tracing paper lets some through, so you can get a toned image. On the best version, I drew in Alan’s facial features with gel pen, biro and pencil.

Based on a screenshot taken from ‘This Time with Alan Partridge’.