To The Kwai and Back

 

As part of my Exploring Specialist Techniques unit I have recently discovered an illustrator by the name of Ronald Searle. I came across him whilst researching other artists for my sketchbook, and his work instantly grabbed my attention.

He was called up for national service during the Second World War and subsequently was captured by the Japanese and forced to work on the Burma rail line. Although weighing in at 6 stone and living under the most hellish conditions, Searle still managed to maintain a sense of acute awareness. He believed that it was his duty not only to survive, but to record the experiences he and many of his fellow soldiers and officers were going through. He often hid his small drawings and quick sketches under the beds of his dying comrades, as the enemy would have no reason to go looking for contraband in such a place. 

After looking around the internet for examples of these impressive illustrations, I ended up discovering his book 'To the Kwai -and back' and could not resist purchasing it for myself. I have not yet had a proper read through my copy yet but the pages I have had a look at are great, it just amazes me to no end that this man had the patience and focus to record such a time in history of which he was a main part of.

This discovery is just another example of why this course is proving to be extremely eye-opening and enlightening. I may sound like I'm exaggerating but I guess I just become enthusiastic about a lot of things I like and admire. If nothing else, books like this one and people like Ronald Searle provide me with inspiration and a drive, they inspire me to maybe create something (hopefully not in the circumstance of a World War) that will live on after me.

The Wallet Begins to Empty

The Wallet Begins to Empty, 1961/63, David Hockney

After exploring Hockney's 'Rake's Progress' this particular print jumped out at me. At first glance I was able to identify (roughly) what was going on. Referring to the title this man is being banished, or sent off, or maybe fired by what looks like superiors at the top of the set of stairs. The red splodge hanging in mid air around the dejected figure walking down the stairs appears in at least 2 other of Hockney's pieces in 'Rake's Progress'. I feel this may be connected to emotion that each figure is feeling within the prints. The fact this man's wallet is beginning to empty may be the reason for being ostracised from what looks like at the top of the stairs alongside the angry figures, the Washington Monument.
I like this print. It conveys (as I have perceived it) a simple message that Hockney may be getting across, and through simple objects and colours within the print, he definitely achieves this.