When I learnt that John Allen had been asked to run a ‘design workshop’ in Puglia, Italy during September – it sounded just what I needed.
Flights were booked – a 7.30am flight from LHR via Rome to Bari on the east coast of Italy, somewhere just above the heel. A couple of weeks before departure, the 7.30am flight was cancelled and Gill and I were now booked on the 6am flight! OK I can cope with that. 3.30am, taxi to Heathrow for flight to Rome, no problems so far. At the departure gate for Bari discovered the flight had been delayed by an hour – waiting for the crew! Well, I am in Italy now.
Arriving at Bari airport feeling somewhat weary –– no sign of the driver – no messages and my mobile didn’t work! I am definitely in Italy. Information office to the rescue who phoned the Villa and learnt the driver was delayed – didn’t know why or for how long. 45 mins later he turned up and gestured with his hands (as only Italians can) and said ‘problem’ (limited English), to which I replied ‘what problem’, and he said ‘car’ – another hand gesture. Oh the joys of travel. We piled into the minivan and keeping our fingers crossed that it wouldn’t break down, were driven at breakneck speed, in the dark, over pothole filled roads, being thrown around like a Jack (or Jill) in the box. At last, we arrived at the Masseria della Zingara, in the middle of nowhere, to be greeted by John and our fellow ‘artists’. We now discovered they had all flown out the day before and had already been out and about and done a day’s drawing! So much for admin. (but that’s another story). Given a quick tour of the villa which looked beautiful, before finally collapsing into bed, absolutely shattered.
Next morning, sun shining and after breakfast outdoors, the rest of the group retired to work in the studio. For Gill and me to catch up on the missed day, we were given an hour to take rubbings around the villa using thin paper and a soft graphite pencil or stick. We had to capture as many tones as possible. Next was to select a suitable view, cut/tear/collage the papers to recreate a tonal representation of the view, drawing in any details afterwards. This proved a tricky task as a slight breeze kept blowing the bits of paper all over the place. However, mission accomplished, we retired to the studio and put up our attempts alongside our colleagues efforts. They had been working to produce a composition from the previous day’s collaged drawings, extract an image and turn it into a repeat design that was evocative of patterns from the 1950s. Each of us was given a critique by John and encouragement on what we had achieved.
Lunch was followed by an expedition to the coast, taking only watercolour paints and a sketch book. We piled into the two minivans and were driven to Polignano a Mare. Wow, what a view, blue skies, blue sea, hot sun. Here were houses seemingly perched, one above the other, on top of vertical cliffs rising from the sea. We sat on the limestone paving and painted our colour patches, trying to capture the light and shade of the coastal view and buildings. With time to spare before dinner at a local restaurant, most of us
wandered into the old part of the town. Lovely narrow cobbled streets, white-washed walls, wrought iron balconies, hanging baskets of flowers, surprise views of the sea, fishermen angling for fish, delicious cones of Italian ice cream. After dining on tasty pizzas and a chocolate pudding to die for, it was back to the villa where I promptly collapsed into bed.
Next morning we worked on the previous afternoons attempts at painted patches. Initially we took a 4” square of paper, placed it over part of the painting and then drew in what we thought should be underneath. An interesting exercise in visual memory. After taking a colour photocopy we then tore/cut bits of coloured paper/images from a magazine and collaged them onto the photocopy to create a fantasy design. Amazing images were conjured by all.
Over the course of the next few days we were driven to several towns and an archaeological site. In Alberobello the brief was to make detailed drawings of the ‘Trullis’ – these are beehive shaped houses with roofs constructed from thin strips of stone. Halfway through drawing a big white van drove up and blocked my view. The driver got out and wandered off down the road. Typical I thought – just my luck! After a couple of minutes he reappeared and drove off. Great – carry on drawing! In Ostuni it was to be quick sketches of architectural fragments, adding washes of colour patches. Not sure what the locals made of us ‘ladies’ with sketch books in hand, sitting on steps or stools or leaning against a wall. We got used to them as they sidled up sideways to see what we were drawing. Most times we got an approved look or a thumbs up or even a ‘bella’.
Returning to the studio we reassembled the fragments into several compositions and designs; combined drawings of the archaeological site with the ‘Trullis’, then using black poster paint, painted into them so that the original design was lost; finally to cut/tear and collage until the end result looked totally abstract (and not a Trulli in sight) – well that was the idea.
In between the excursions and working in the studio, we were fed and watered by Julia who ran a local B&B. She would ferry the hot food to us every day. All we had to do was lay the table, clear away afterwards, run the dishwasher.
Over those few days I learnt a lot and gained more confidence in my drawing abilities. I thoroughly enjoyed the experience, the laughter, the banter within the group and John’s expert critiques and encouragement. Also the opportunity to see another little unknown corner of Italy.
