Page 56 - Studio International - June 1966

Jim Dine that surrounds him look pale. He confessed that he
Thorpe le Soken 1 didn't find the English 'abrasive' enough, and said of
Collage, pencil, water-colour
30 1/4 x 22 in. the English art-world in general 'they're so soft, there's
Robert Fraser Gallery nothing to push against here.' He finds it 'impossible to
make a relationship of the same intensity in England
as in America'.
Some English artists and critics may find these forth-
right comments rather nettling; some (like myself) will
admire their candour and agree that there is probably a
certain amount of truth in them. Certainly, Dine did not
consider his visit to these shores a dead loss. Among his
enthusiasms were English `haberdashery'—of the tradi-
tional, rather than the Carnaby Street, kind. He also
liked the Imperial War Museum, which gave him 'a
sense of war that was about objects' ; the Natural History
Museum; Hamley's ; and a match between Fulham and
Sheffield, which he thought had an intense reality and
seriousness, a 'hardness', which was missing from Ameri-
can pro football. I asked him which English artists he
had felt most sympathy with, and he said that he had
benefitted very greatly from contacts and discussions
with Richard Hamilton and Eduardo Paolozzi—he had,
in fact, been doing some work in collaboration with
Paolozzi, and had also made a series of drawings on his
own account during his English visit—these will be shown
at the ROBERT FRASER GALLERY in the near future.
It was interesting to talk to Dine—an intelligent and
sympathetic extremist who says flatly that 'my sources

Left Above
Terence Pope Christopher Shurrock
Space ring 1966 Modulated surface 1966
Perspex, pvc, and silver steel Acrylic sheet, acrylic pigment,
47 1/4 x 35 1/2 x 15 3/4 in. aluminium, wood 32 x 32 x 6 in.
Axiom Gallery Axiom Gallery