HYLAND
W h a t b e t t e r p l a c e t o a c h i e v e
these creations than at home at
Copse Hill? It goes almost without
saying that Creswell's studio is
housed in a small wing of his
house, once servant's quarters,
now a capacious single room with
all the appurtenances of the artist.
There are, of course, his myriad
brushes, contained in appealing
blue and white jars, but there are
more specialized instruments as
well. A friend created a portable
contraption resembling a scroll,
w h i c h , n o t u n l i k e t h e B a y e u x
tapestry, unleashes swathes of
paper which Creswell covers with
studies and sketches, then rolls up
again when he runs out of space.
Then there is his lighting system,
electric tubes of light calibrated to
mimic all the variations of daylight,
from overcast to sunny, which Kyle
remarks would, by itself make an
interesting Dan Flavin-like installa-
tion.
Alexander Creswell has become
ever more ambitious in the scale
of his work, and now seeks com-
missions—in watercolor—that
attain the size of murals, covering
a wall or even a ceiling. Copse
Hill remains the place where such
Sketches of
Queen's River
Thames jubillee
