Behind the Eye - ACE223.6

Huxley looking at paintings at the Courtauld Institute, and explains how the distortions of line in Cézanne’s Joueurs de Cartes (Card Players; 1892-1892) inspired him to go beyond reality in his own work. Griffith talks about being very young and finding Cubism much more "real" than more realistic works, and also liking Expressionist work. He’s never been able to get close enough to a canvas to see how the paint has been applied. Some of his own paintings on display in Glasgow. He says that he sees people’s faces as constantly moving. Huxley working on a large canvas. He likes to keep spontaneity but also needs to get details "right". His emotional responses to his work are not always the same as other people’s. Maskell Packer looking at a series of works called The Tenant Farmer, but using associated objects rather than the people themselves. Griffith working on a head. He refuses to accept the equation that not being fully sighted means he can’t paint. Maskell Packer with some of her paintings. She says that, if she lost her sight entirely, she’d turn to writing because "with words you can make pictures". Griffith says he paints because he’s visually impaired. The exhibition. Huxley with several of his paintings which, he believes, all make political statements. Griffith. Maskell Packer. Credits.