“The border-line between what is tragic and what is comic interests me…They are a pathetic human way of trying to come to terms with the fact of our own death, the fact of other peoples’ deaths, the fact of the horror we see on the news everyday, the terrible things that happen. Some moments you cry, other moments you laugh” (Conversation with Judith Collins Hambling 1993 p13)
Maggi Hambling was the artist and printmaker chosen for my Parallel Project.
considers the different techniques she uses to communicate movement in her drawing, painting and printmaking and some of the learnings for my own printmaking practice.
Other notes and video links
Overview of her work
for British Museum ‘Touch’ exhibition 2016
Drawing and portraits
My first introduction to Maggi Hambling was through the ‘George always’ exhibition at the National Portrait Gallery in 2009.
Then her wave and Walls of Water paintings shown at the National Gallery. These include a series of monotypes first shown at Malborough Fine Art (see the exhibition), then the Fitzwilliam Museum in Cambridge and the National Gallery.
More recently her work has been more political with the exhibitions, dealing with topics like global warming, migration and war:
- The Edge (See my Maggi Hambling post on illustration blog)
- War and Requiem
How important is being ‘lesbionic’?
Hambling, M. (1993). Towards Laughter. Sunderland, UK, Northern Centre for Contemporary Art.
Hambling, M. (1998). maggi & henrietta.
Hambling, M. (2006). Maggi Hambling the Works and Conversations with Andrew Lambirth. London, Unicorn Press Ltd.
Hambling, M. (2009). The Sea. Salford Quays, The Lowry Press.
Hambling, M. (2009). You Are the Sea. Great Britain, Lux Books.
Hambling, M. (2015). War, Requiem and Aftermath. London, Unicorn Press Ltd.
Ramkalawon, J. (2016). Maggi Hambling Touch: works on paper. London, Lund Humphries and British Museum.
Attitude towards death and relationship with Henrietta Moraes Evening Standard 1999