Page 32 - Studio International - March 1974

bought one from Waddington. I didn't know
are fairly definite, like colour, aren't they ?
about this. They also bought a picture from
RH: I was taught by Blossom, the master of
Brigit Strong, and I went along to the Tate to
browns, and I did a lot of browns for a bit,
have a look at this big one, which I didn't think
perhaps too many.
was any good; the first thing that struck my eye
AG: When you were painting, did you find that
was this other, quite small thing, that they got
they happened suddenly at the end. In other
from Waddington. It absolutely hit me. I was
words, when you were doing the paintings did
very pleased, naturally, it made such an impact.
you find that the paintings happened; that
It was just red and black. And then this young
they came together very quickly at the end ?
feller came along, some assistant of some sort,
RH: What do you mean ?
and conducted me to the basement to look at the
AG: Sometimes you want to do a painting and
other one. Anyhow, it had this cellophane all you're building it up almost as you go along.
over it and the workmen were going to take it off.
There's a steady progression, and at other
I said, 'don't bother, it's terrible', and this
times you are going out towards something
young chap said, 'Oh we think it's very good.'
that you see miles away before you get to it.
Moments of fun. Dear me, dreary picture.
RH: It's so awkward. I mean, people ask you . . .
AG: You know those paintings you're talking
Harry White, a roofing specialist, he tried to get
about. You say red and black. Most of them
the hang of things. It's very difficult to say.

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