Henry IV Pt. 2

**1/2 Part II has never been one of my favourite plays and on this occasion the starkness of both plot and set proved too much. There is to my mind, too much comedy in this history too far; the runt of the tetralogy methinks. Sher was again a worthy Falstaff of which Elizabeth would certainly have approved. Shallow is well performed but Silence is just plain irritating. The motley crew of conscripts do however amuse but Pistol is too wild and extreme a figure; alone he is striking, but in this production he is simply incongruous.

Henry IV Pt. 1

**** When Bollingbrook first takes the stage, mourning the death of Richard, David Tennant appears again as Richard II on the balcony...or we think it's Tennant and gasp with excitement. There are times when the play doesn't quite hit the mark (Hal's Machiavellian monologue for example) but otherwise it was a joy to watch. Hotspur is wonderfully petulant and the puppet of Worcester and his father but it is Sher of course who steals the show, revelling in Falstaff's comedy. Can't wait for Pt.2 now.

Abstraction at the Albert Dock

At the Tate in Liverpool Mondrian and Nasreen Mohamedi share the top floor gallery which, on the face of things, seems an odd pairing, yet in reality works well. Whilst everyone knows (and perhaps even appreciates) Piet's ordered grids of black and primary coloured neo-plasticism, it is the early deconstructions such as the Church Facade No.6 of 1915 and The Tree A of 1913 that I prefer. The latter also has a wonderful sense of Cezanne.

Mohamedi's work is however new to me. Early works are reminiscent of monochromatic Ivon Hitchens paintings, later developing into a complex form of Op Art which rivals even Riley. Again an odd combination one might think but Mohamedi's evolution as an artist seems wholly logical. There is even a reconstruction of Mondrian's studio to see but sadly, this didn't make me immediately wish to paint.

The 'DLA Piper Series: Constellations' exhibition which is also showing, assembles a typical selection of 'is that really art?' work. Stacks of magazines, colourful trollies, a pile of old towels, women being tattooed, and best of all John Smith's video from 1976, The Girl Chewing Gum. Containing elements of Pete and Dud and slightly Monty Pythonesque, I really like this piece, but probably for the wrong reasons.

Sunny Manchester?

Just my luck...what was a glorious sunny Sunday outside the Central Lending Library disappears as soon as my watercolour touches the paper.

Another day in Yorkshire

A visit to the Cartwright Hall in Bradford revealed some hidden gems. Built when rich industrialists processed a social conscience (wanting to ensure their place in heaven no doubt) the hall is named after Dr. Edmund Cartwright who invented the power loom. There's a great collection of contemporary prints, including Hockney's The Rake's Progress, a Rossetti stained glass window, a (disappointing) Clausen and even a Vasari. It was however the two early Hockneys that caught my attention.

After Cartwright Hall it seemed foolish not to visit Salts Mill (only 10 minutes by car). They'd even opened up the roof space for the annual Leeds Photographic Society exhibition. The pictures weren't up to much but the space and light in the roof were incredible. O yes...you also can't beat the steak and chunky chips in the restaurant.

Ursula Von Rydingsvard at the YSP

The Ursula Von Rydingsvard exhibition is a mixed bag of wonderful monolithic outcrops (which in reality are constructed using 2x4" and 4x4" cedar wood beams - the type we could all get from B&Q) and less successful oddments including some terrible large spoons and plates. Well worth the visit if only for the a handful of works and the, now compulsory, gallery video showing her at work.

Princess Street, Knutsford

oil on board (10 x 16")