Jim: There’s such a strong focus on colour in your work, perhaps stemming from that very early attraction.īenet: Yes, looking back, I think that is true. I remember falling in love with those colours, getting the cadmium and the yellow out. Not as profound in my case perhaps, but it was very important for me to be given her box of colours. I think the gift of her paints was a kind of seminal thing, a bit like Picasso’s father handing over his palette to his son, saying: “take it over”. She was gifted and – I learnt this from my dad later on – when they met at Cambridge, she painted murals on the walls of his digs. I think she had decided she didn’t want to paint any more, or didn’t have the time she was too busy writing.īenet: Yes, she was at the Slade School of Art. It was an old box with brushes, a whole load of oils and a palette. Then my mum, Rosemary, when I was about eight, gave me her oil paints. I remember going around the National Gallery with my grandmother when I was about seven, looking at the great masters, wondering what on earth they all meant. I discovered recently that he has some work in the Victoria and Albert Museum in London. Were there any particular family influences?īenet: My maternal grandfather, Peter Luling, was a painter, quite a well-known one in fact. Jim: Perhaps we could start with some of your family background, and what it was that drew you towards painting.
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