Galleries - November 2011

house , Penzance) and an early poem by Ted Hughes its timbre, allowing her to explore the ephem- eral space between sea and land withsubtly sensuous paintings that suggest ideas of loss and transformation. The palette is re- duced – her characteristic earthy tones have slipped into cool greys and icy blues; the mermaid’s story remains unresolved, the ending uncertain. Pip Palmer are still given credence and anc- ient traditions are not entirely lost. She is, if you will, a visual poet weaving together images, symbols and archetypes into paintings that resonate in the subconscious and linger there like half remembered dreams or the dark fairy stories with which she has such an affiliation. The tale of the ‘Mermaid of Zennor’ provided impetus for this current exhibition (at Light- though – and Pascin concisely conveys the acute emotion of a Flapper’s frown or suggestive bodily hairline. The small group of his paintings also exhibited pale by comparison with the drawings, the canvas appearing somehow to absorb all the energy of his line. Meanwhile, placed alongside the biblical narratives, Pascin’s illu- strations published in the satirical German magazine, Simplicissi- mus , serve to remind us of the artist’s humour and function in an era of social and political change. Pascin’s own tragic biography typifies the 1920s; he was known as a dandy and revelled in the erotic but, accompanying this scholarly exhibition, in a selection of revealing letters and photo- graphs, we find Pascin’s emotion- al suicide note to his mistress Lucy Krohg. Nicola McCartney Catherine Hyde Readers may find they are more familiar with the work of Catherine Hyde than they think: she collab- orated with Carol Ann Duffy on her story ‘The Princess’ Blankets’ – providing the magical, richly text- ured images that so perfectly evo- ked the text – and similarly illustr- ated a retelling of ‘The Firebird’, produced to coincide with the V&A’s Diaghilev’ exhibition. Since her move to Cornwall ten years ago her work has “blos- somed” – not surprising perhaps since she has come, fittingly, to a place where myth and story telling Images from top left: J ules Pascin ‘The Dance’ 1925 at Aktis Gallery. Richard Eurich ‘Boat on the Solent’ at Hester Gallery. R ichard Smith ‘Untitled 2011’ acrylic on linen, at Flowers Gallery. K eith Vaughan ‘Small Abstract II’ 1950, gouache, pen and ink on card, ‘Man and Child on the Moors’ 1946 watercolour, ink and gouache on paper both at Osborne Samuel Gallery. Above: Catherine Hyde ‘The Lonely Shore’ at Lighthouse Gallery 11. GALLERIES NOVEMBER 11