What began as

What started as an online collection of strangers in lockdown, became the ebb and flow of a friendship group.

I came to meet friends in a pub in London, but first I spent three hours drawing in the British Museum.

I drew the noble faces of others’ civilisations hacked and stolen by an empire of vandals.

Strangely, four times I was interrupted so people could photograph my drawing in progress.

Happy New Year, fellow artist bloggers.


Here are a further bunch of sketches from the British Museum “Feminine Power” exhibition. I have now seen this I think four times with different people. Here I revisited the bronze Lilith I have drawn before. Next is the stone Cihuateteo (Aztec) representing the deified warriors who died in childbirth. After these come Aphrodite and Athena. Then is Guan Yin, a complex Bhuddist enlightened one associated with compassion.

Last is a quick sketch of a dancer at the BBC prom last weekend Glass Handel at the Printworks, London. This was a musical installation in a large industrial space with counter-tenor, orchestra, beat-boxing, ballet, procession and video.

May Lilith haunt the dreams of judges and Hekate light our road

The current exhibition at the British Museum brings together “sculptures, sacred objects and artworks” across time and place exploring a question, framed by classicist Mary Beard as “How do you represent feminine power or desire in material form?”

I cannot post these sketches from the exhibition without saying this. Yesterday, the Supreme Court of the United States of America overturned a decades old ruling on privacy that had defended women’s right to choose with respect to abortion. This horrifying misogynistic attack will coerce, control, incarcerate and kill women across the USA. This assault on women is of a piece with world-wide assaults on bodily autonomy, for example the increasing exclusion of trans people from affirming health care and civil society, and a rise in violent homophobia. As we increasingly celebrate diversity and fluidity in ourselves and others with regard to gender and sexuality, the reaction is to police our behaviour and expression within narrowly defined limits. These are spear points to fracture and exhaust us, and distract us, so we stumble down a road leading to fascism.

The female form has been exploited across time and six continents as a vehicle to express ideas about our very nature as evolved, natural, thinking, creative, social, hierarchical and transgressive beings.

The exhibition takes six themes: Creation and Nature, Passion and Desire, Magic and Malice, Justice and Defence, Compassion and Salvation.

Passion and desire are driving forces, in manifestations extending from lust, ecstasy, rage, wisdom and conquest. It is a transgressive disrupting force and can be a glue holding together relationships and society. The 1994 sculpture “Lilith: the first woman” by Kiki Smith shows Adam’s first wife, expelled from Paradise for desiring sexual dominance, crouching on a vertical surface above our heads. My little drawings, attempted twice, did not capture the majesty of this bronze figure. May Lilith haunt the dreams of the justices.

Monstrous women, demon goddesses, witches sit both at the fringes of society and at its heart, independent, aggressive, protective, vengeful, wise. The Roman god Hekate symbolises transition, gazing at three pathways. She is light in darkness. May we choose well our future direction.