Viva Lewes Issue #160 January 2020

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ThinkersChallengersInnovatorsLeadersDISCOVER THE SUSSEX MBAFIND OUT MOREwww.sussexmba.com
COLUMNDavid JarmanMy back pagesTo Pallant House in Chichester with my friendBarry O’Connell, to see, among other things, adisplay of the work of Prunella Clough, markingthe centenary of the artist’s birth. It proves tobe a very rewarding show, marred only by onework entitled something like ‘Sunrise in MiningTown’ (I noted the title but can’t decipher myhandwriting) which Barry awarded his ‘worsthung and lit picture in a public gallery in2019’ prize. In a display cabinet there’s a copyof a 1949 Picture Post, open at the page wherePrunella Clough, among others, is asked abouther approach to art. She begins: ‘Each paintingis an exploration in unknown country; or, asManet said, it is like throwing oneself into thesea to learn to swim.’ I liked this remark, and itreminded me of the last time I saw a PrunellaClough show, and for a particular reason. It wasin 2016 at the Jerwood in Hastings – back inthose days when it was still the Jerwood. Then,the artist was quoted: ‘It’s just paint in the end,you push it round ’til it works – that’s all. You getbetter at it over the years… you’ve just got tokeep on doing it.’ I quoted this in the July 2016issue of Viva Lewes during my account of aninterview with Giglia Sprigge, before her showat the, then, Hop Gallery. I thought Giglia’sdown-to-earth, no-nonsense approach to artvery similar to that of Prunella Clough. Shortlybefore my visit to Chichester had come the sad,though not unexpected news of Giglia’s death.I didn’t know her very well, felt honoured tobe invited to twice yearly drinks parties at herhome. By all accounts she was a rather remarkableperson. She certainly came across that waywhen I interviewed her.My Chichester outing was also a few daysbefore the General Election. The main Pallantexhibition, Radical Women: Jessica Dismorr andher Contemporaries prompted some particularlyrandom remarks in the visitors’ book. ‘RadicalWomen would have been against Brexit’ readone. ‘Anyone who votes Tory after seeing thisexhibition should be ashamed’ read another.My favourite exhibition in 2019 was that of theFinnish artist, Helene Schjerfbeck at the RoyalAcademy. A revelation. But I especially lovedthe labels to the pictures, demonstrating thesweetly baffled curatorial comments concerningthe apparent mismatch between some pictures’titles and their subject matter. One painting, of agirl looking rather like a clown, is entitled ‘TheSkier: English Girl.’ The curators’ comment: ‘itis not known whether Mabel Ellis, the Englishmodel for this unusual portrait was a skier althoughher caked make-up mayhave acted as sun protection, asrequired when skiing.’ As thepicture dates from 1909, thisseems an unlikely explanation.Another, of her nephew MansSchjerfbeck, isentitled ‘TheMotorist’:‘Here Mans, aschool teacher, iscast as a dashingmotorist – whereas,in reality he did notown a car or evenhave a drivinglicence.’Illustration by Charlotte Gann27
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Viva Lewes Issue #160 January 2020

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