Sunghrie II
By Wilhelmina Barns-Graham

none
Year
2002
Media
Printmaking
Subject Matter
Abstract
Reg. Number
L369
Size
77 x 94.5 cm

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'Sunghrie II', with its bright golden pallet, was inspired by the artist's interest in Tibet and Buddhism. 'Sunghrie' had a special place in Wilhelmina's heart for it was both a Tibetan river and the name of one of her beloved Siamese cats. Together with artist Carol Robertson, the two artists invented a technique allowing for the screen print to be more painterly, with translucent inks and brush marks that transform into rectangles. 'The Sunghrie Series' was created by piecing together geometric elements from her past prints to create something new. The series also symbolises Wilhelmina's resilience; she was worried she would be too frail to undertake the physical demands of printmaking, but with the support of others she saw her bright vision appear on paper.

By the time Wilhelmina transitioned from painting to printmaking when she was in her eighties, she was at first sceptical of the medium but then inspired by the amount of work she could accomplish with it, creating more work than her printmaker could keep up with. "At my age, there's no time to be lost. I say to myself, 'Do it now, say it now, don't be afraid'. I've got today, but who knows about tomorrow? I'm not ready for death yet, there's still so much I want to do. Life is so exciting; nature is so exciting. Trying to catch one simple statement about it. That's what I'm aiming for, I'll keep on trying".

Despite being born into a wealthy Scottish family, no one could accuse Wilhelmina Barns-Graham of not working hard to get the recognition as an artist that she felt she deserved. Her journey was not an easy one, filled with deterrents, sickness, and many hardships along the way but nothing would stop Wilhelmina in her passion for creating. Wilhelmina's parents were so against her dreams of enrolling in art school that they forced her into the Edinburgh College of Domestic Science where she slipped away from classes to read art books. Six months later, she was enrolled in the Edinburgh College of Art to begin her life as an artist.

After graduating, Wilhelmina moved to Cornwall where she became part of the St Ives artist community where she developed her sense of abstraction based on the Cornish landscape. For the rest of her life, Wilhelmina would divide her time between her studios in Cornwall and St Andrews, working hard to gain recognition as a female artist in what she saw as a world dominated by male artists. She saw her artwork in much the same way; "I want my work to be a simple statement. A world in itself- of small area against large masses". By the end of her life, Wilhelmina had achieved what few had, honorary doctorates by esteemed universities, a trust to preserve her legacy, and perhaps most important to her, recognition for her contributions in Twentieth Century art.


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