Weekly Roundup 9

i. Christmas has been and gone. Becky bought me my best present: an out of print book about Auerbach drawing at the National Gallery which I've been after for quite some time! It was a lovely, busy, family-filled week but now I'm looking forward to getting back into some sort of normal routine.

ii. The Friday before Christmas I met up with Jon Dixon in Bath to deliver some artwork that I've been looking after since our exhibition together over the summer. We also swapped drawings and visited Howard Hodgkin: India on Paper at the Victoria Art Gallery. I love Hodgkin's expressive and painterly use of printmaking using carborundum, lithography and hand painting. This was my second visit to the show and no less exciting.

 Jon Dixon,  Durham Cathedral,  2016, pencil on paper

Jon Dixon, Durham Cathedral, 2016, pencil on paper

 Howard Hodgkin,  Mumbai Wedding,  1990-91, hand-painted gouache on intaglio impressed Khadi paper

Howard Hodgkin, Mumbai Wedding, 1990-91, hand-painted gouache on intaglio impressed Khadi paper

iii. I've made lots of drawings of friends and family over the festive period. I hope these will develop into some larger prints next term.

iv. I've managed to see a few exhibitions during my time off. From Life at the Royal Academy describes itself as asking 'what it means to make art from life, and how the practice is evolving as technology opens up new ways of making and seeing.' Although the show itself was underwhelming it did contain some brilliant work - particularly a new series of self-portraits by Chantal Joffe.

Joffe describes her portraits as therapeutic: 'when things are hard in my life I will paint myself. It is a way of saying I am okay... It's a way of owning it, of holding onto a moment. Painting is the absolute present tense of a moment.' These new artworks are particularly pertinent as I work towards an exhibition of self-portraits I am in and co-curating. I've made several self-portraits in the past but it is Joffe that has inspired the print I am working on for the show: a straight-on, naked self-portrait. It feels important to me to make a deadpan image of myself without any swagger or self-fashioning. By stripping (literally) things back to basic I feel I can then start again, and start moving forward with my practice and make new portraits based on the drawings and photographs I have made over Christmas.

 Chantal Joffe,  Self-portrait with Hand on Hip,  2016, oil on board

Chantal Joffe, Self-portrait with Hand on Hip, 2016, oil on board

 Chantal Joffe,  Self-portrait Naked in Garden,  2016, pastel on paper

Chantal Joffe, Self-portrait Naked in Garden, 2016, pastel on paper

v. I also went to see Soutine's Portraits at the Courtauld Gallery and it was the best exhibition I've seen in a long, long time. Although Soutine’s sitters are unnamed and distorted through paint, they are recognisably individuals, full of humanity, feeling and personality. ‘Though Soutine may project his… most personal feelings on to his subjects, the viewer never loses sight of a particular physical entity being carefully observed and experienced. Even the distortions and exaggerations of facial features and the shiftings and dislocations of body parts do not destroy the essential recognition in each painting of a certain person and a reality specific to him or her.’

 Chaïm Soutine,  Cook with Blue Apron (La Cuisinière en tallier bleu),  c.1930, oil on canvas

Chaïm Soutine, Cook with Blue Apron (La Cuisinière en tallier bleu), c.1930, oil on canvas

 Chaïm Soutine,  Valet (Le Valet de chambre),  c.1927, oil on canvas

Chaïm Soutine, Valet (Le Valet de chambre), c.1927, oil on canvas