Create your own neighbourhood comic this half term.
© Bristol Archives 45707/1/1/8
The Architecture Centre
31 May - 10 Sep 2017
The Architecture Centre is pleased to present the first ever exhibition of Garth England’s drawings, kindly on loan from Bristol Archives.
Garth England was born in 1935 and lived most of his life in South Bristol, working as a paperboy, milkman and on the railways. His remarkable collection of drawings – made with pencil, crayon and with a ruler – were mainly drawn from memory during his later years in a residential home and were created on whatever paper was to hand – often the backs of envelopes, bank notes and letters. The drawings present a remarkable record of not only Garth’s life but of the buildings and places that surrounded him throughout his life in Bristol and beyond.
In 2013, during the research phase of Future Perfect (a public art programme in Hengrove, South Bristol, curated by Jes Fernie and Theresa Bergne), the engagement manager for the project, Jo Plimmer, met Garth and was introduced to his remarkable drawings of Bristol. As part of the Future Perfect programme, a selection of Garth’s drawings were published in a fully illustrated book, Murdered with Straight Lines: Drawings of Bristol by Garth England (Bristol: Redcliffe Press, 2016). Read Tim Burrows’ review in The Guardian here.
The exhibition aims to bring the work of Garth to a wider audience and has been programmed to coincide with:
Alternative Visions: Undiscovered Art in the South West
3 June – 10 September
Bristol Museum & Art Gallery
Frank, emotive and vibrant work by twenty regional artists who experience barriers due to health, disability or social circumstance. Find out more.
The exhibition is accompanied by a programme of talks and activities.
“From childhood onwards, England used a ruler to draw and the book’s [and exhibition’s] title comes from something his teacher said, holding up his work in front of the class as an example of what not to do: “He’s murdered it with straight lines.”… Yet if his straight lines are a quirk, they are a functional one, lending themselves to the modernity that characterised the postwar years.” Tim Burrows, The Guardian, 02/06/16