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With permanent installations across the globe, Barcelona-born Jaume Plensa is the one of the doyens of large scale artistic projects in public spaces. Plensa uses thousands of letters and the shape of the human body to create sculptural works that convey great intensity combined with a mysterious serenity. With the aid of iron, glass and resin, he balances form and scale to give life to works that are both soothing and compelling.


The theme of the heads of young women is a recurring one. Their eyes are closed, their mouth is shut - they look calm, adrift in deep sleep, as if floating in space and time. When we look more closely, we realise that these women are of different ethnicities. Plensa's heads cause us to stop and reflect, it's how he chooses to represent and pay tribute to the rich diversity of our society.


Together follows in the tradition of incorporating contemporary art installations in sacred spaces. Plensa's work stands out while subtly blending in, adding a new experiential layer to the environment. Part of the project was placed in the basilica of Saint Giorgio Maggiore, steps away from Tintoretto's extraordinary Last Supper. And while any suggestion of a 'dialogue' between the two artists would be an unwelcome stretch, Plensa's contribution arguably created a stunning vision of intimate connectedness that is likely to have stirred the soul of viewers from all faiths.










Jaume Plensa, Together (2015). Photos all mine.

 
 
 

There are many reasons to visit the Getty Centre, which is nestled in the hills overlooking West Los Angeles. The first is probably its unique architecture, one of Richard Meier's most visionary and iconic achievements. The second is the oddly serene view that can be enjoyed from the beautifully landscaped gardens. The museum's collection is also quite impressive, and it was it difficult to pick just one work for this post.


Then I remembered being struck by this delightful Degas. I love the discreet intimacy of the scene, the way he captured the mood of the milliners, almost spying from above on the apparent indifference between them. These women are tired, probably overworked and in no mood for chit chat. Look at those unrolled ribbons on the table, there is still so much sewing to be done.


But it's the unusual composition that sets this picture apart. Those towering hat stands in the foreground, which Degas painted so sketchily they almost look unfinished, create a sort of barrier between the viewer and the milliners. The women are isolated in their world of repetitive labour, and Degas draws attention to the one the left as she stares into space looking decidedly exhausted.


With the exception of the bright ribbons, I find that the muted palette really conveys the gloominess of the space around them. This is an overall very sympathetic depiction of one of Degas' favourite subjects, which I much prefer to the dancers and bathers.






Edward Degas, The Milliners (about 1882-before 1905), The J.Paul Getty Museum.

Photos all mine (including the selfie with my darling friend Alice May).

 
 
 
Writer's picture: Beyond the CanvasBeyond the Canvas

Today is the most awaited day of my year. The hopeful and feverish monitoring of the evolution of the buds on my beloved pear tree culminates and ends on the day I wake up to find buds have turned into flowers.


That day is today. White, fragile, ephemeral, beautiful and moving, trembling in the breeze against the clear blue sky. Today I’m feeling a little bit like Vincent in Arles. I also choose to live this day in contemplation and in awe of nature.


This yearly gift is immense. In the spring of 2020, a year we are unlikely to forget, it carries all the weight of our hopes and the courage of our dreams.




 
 
 

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