Watts Gallery - A linocut by Paul Catherall
Leading printmaker Paul Catherall has been commisioned to design a linocut of Watts Gallery, capturing it prior to restoration. Andrew Churchill talks to him.
Your prints have previously focussed on architectural landmarks in cities. How did you find working in a more rural setting?
It was quite a change and a challenge - I’d got used to using straight lines most of the time from my usual choice of mid to late twentieth century architecture, particularly those from the brutalist genre! I really like the Englishness of the setting and it enabled me to incorporate colours inspired by painters like Paul and John Nash and Graham Sutherland. It also allowed for a more integration between natural and man made elements. The foliage at the Gallery seems to be part of the structure and I wanted to reflect that in the print.
You are in the exhibition The Art of the Poster - A Century of Design, in fact one of your prints is the cover of the catalogue I believe.
Yes, the artwork of Primrose Hill image is displayed along with some preparatory sketches and a previous poster of St Paul’s and Blackfriars Bridge entitled ‘Spring - Four Seasons of London’s Famous Skyline’ has been chosen for the book published by Lund Humphries to coincide with the exhibition.
Many people will be familiar with your work on the numerous book jackets you have designed. ‘The Cloudspotter’s Guide’ was a runaway success wasn’t it?
It became a really popular book which was a nice surprise to me and also to the publisher I think! It was designed and reproduced sympathetically, which is quite important when dealing with artwork that becomes the main focus of the cover - things like the right paper stock being used can make a big difference.
What was it about the Gallery building that first struck you?
The first thing that struck was the geometric quality of the triangular windows along with the two front elevations. Though it seemed almost ‘country cottage’ like with a very English feel enhanced by the front garden and foliage around the building I also saw the ‘tardis’ quality of the gallery that seems so much smaller on the outside than it actually is. I wanted to retain the Englishness of the building and setting but also to give it stature and solidity with an almost pattern like representation of the Arts and Crafts features.
Do you approach ‘cultural’ buildings differently to say, bridges or financial buildings?
Not at all. Every landmark has it’s own unique qualities and you respond to just that really. When sketching and photographing I usually get an idea of the elements I want to concentrate on - those that I feel are the essence of the structure. Colours also come as a response to the building that just seem right. It’s hard to explain but certain buildings just seem to go with certain colours.
