See you later, WordPress 👋

I wasn’t best pleased to discover that the mobile version of lauriewoodruff.com has been taken over by adverts:

I’m therefore in the process of applying some skills learnt here along with some new learning tools available here to construct a shiny new site here -> https://lauriehfw.github.io/

🎉 

What Sundays are made for..

Indulged in a full day of gallery-ing yesterday at the Calouste Gulbenkian Museum. Was particularly enchanted by the setting, with multi-tiered windows and playful gardens. 

Was refreshing to see a whole load of work by predominantly Portuguese artists that I'm not too familiar with. Highlights include:

- Revelo-colagem by Manuel Baptista (1973) 

- The undulating (and perfectly positioned) La Mer by René Bertholo (1971)

- You know when you try and flatten out some chocolate foil? And it's really satisfying? Well, there's that. And then there's this - Sombras e chocolates (joaninha) by Lourdes Castro (1965)

- I also couldn't resist this - Life Class B by (the admittedly British) Allen Jones (1968) - which really wouldn't look out of place in Oliver Bonas.

Just yes to it all.

NOLA

At the very beginning of this month, I found some pretty prints of New Orleans architecture by Magda Boreysza in a teeny shop next door to our hip hotel. Here's an beaut example that really captures the character and soul of one particular home:

Made me nostalgic about the Kiwi houses I tried to draw here and determined to get drawing back into my routine. 

Museu das Artes de Sintra

Have been doing a lot of travelling this month, between Leeds, Lisbon, Magoito, Madrid, Miami and New Orleans, but managed to sneak in a visit to Museu das Artes de Sintra.

Found this cement rucksack that sums up how heavy my bags have been feeling: 

Also saw this lovely (badly photographed) complimentary set up:

And this sculptural piece, which was reminiscent of the nearby gardens at Quinta da Regaleira:

They love the laughter and they love the living..

Made it to the Moomin Tove Jansson exhibition at Dulwich Picture Gallery this month. It was a gorgeous retrospective of her work (not just the mooooomins), full of humour in the face of despair and respect toward nature and diversity. I loved finding her integrity evident in her choice of commissions, such as this Christmas card for Unicef (1981) 💛

Here’s a few illegal photos I managed to snap before being told off. I may or may not have missed the ❌ 📷 signs..

After Party (1941) 👇 - The range of emotions reminded me of Munch's The Dance of Life (1925) (seen at SFMOMA last Sept)

 

Self Portrait (1975) 👇 - Her last ever painting, loaded with pained wisdom and starkly contrasting with earlier fresh-faced and determined self portraits.

Sketch for The Last Dragon In The World (1962) 👇

And a familiar summertime scene.. 👇

Actual cards in the post

I may be in a very exciting world of digital EVERYTHING in my new role at GitHub, but I'm holding on to the tradition of sending physical handmade cards this Christmas. 

There's satisfaction found in making them (I 💚  hole punching), enjoyment found in writing personal messages, and a fuzzy festive feeling that comes from knowing I'd smile if I received something similar.

Made from old photos / paint gradient exercises / collage material / thread and spare brown card, they're also assisting in the ongoing house-clearing quest at chez Mum.

#allroundfestivecheer

Robin Delivery

Sorted a drawing of a little robin to feature on a Christmas card for a friend's nephew. Dawdled with the typography but pretty pleased in the end.. almost as satisfied as the little well fed character themselves: