Through Our Hands: New magazine on contemporary art & quilts

Through Our Hands magazine front coverThrough Our Hands is an online platform developed by Annabel Rainbow and Laura Kemshall promoting contemporary artists and makers, specialising in quilts. One of their aims is to help quilting gain a wider and refreshed recognition in the wider world. The project’s beginnings coincided with an exhibition on quilts, featuring Annabel’s work, at Leamington Spa Museum and Art Gallery in 2012, which I reviewed for The University of Warwick Student newspaper.

They have just launched their new, online quarterly magazine featuring artists’ work, interviews with makers, tips on quilting techniques and exhibition features. I was very pleased that Annabel asked me to contribute to the magazine with a piece on the Matisse exhibition in London.

The link to the magazine is here.




Cutting his Way to Freedom: Henri Matisse at Tate Modern

This article is published in Trebuchet Magazine after I attended the Tate’s press view for the Matisse exhibition 

Venice, The Studio - Room 5This exhibition, originally proposed for 2009 and so long awaited by those in London and far beyond, is more beautiful and uplifting than could be imagined. It has been such a momentous project that the Tate joined forces with MoMA, where the show will tour from 14 October to 9 February 2015. Many cut-outs have been lent from France such as from the Matisse Museum in Nice and the Pompidou Centre in Paris. The curators described the press view alone as a “monumental day”.

Blue NudeHenri Matisse: The Cut-Outs is a must-see for so many different reasons. The Tate director, Nicholas Serota, claims it will be “the most evocative and compelling show that London has ever seen”. A main attraction is that this is the first time many of the works, of which there are about 130, have been seen together and displayed in the UK. Just think of the four The Blue Nudes, 1952. Their forms seductively follow you round the room, enchantingly entwining electric blue hues with negative spaces in a repetitive, meditative dance before our eyes. The life and vigour in this room, and the exhibition as a whole, never fails to surprise. This is especially considering that these cut-outs were created in the last years of Matisse’s life, from 1937 to 1954.  Continue reading