Nick Willing

It's a sculpture that is beautifully embroidered.

She did a lot of textile work and embroidery work in those days for this reason.

But this is a particular fig that's never really been shown.

I've only ever shown it once because although it's a fig, it's also something else, a part of a woman's anatomy.

And so she embroiders all the areas of sensation.

And it's a form of protest in the sense that saying you want woman's work here, you got me.

Which I love.

I'm going to show it in this exhibition of drawing because the exhibition we're doing at Victoria Moe, which I've called Storyline, two words, Storyline, because she tells story through the way she draws her line.

And embroidery was a form of using line through thread.

Yes.

And she draws with that thread.

And I think people get a kick out of seeing that.

Because she uses line in a way, in every single medium, she uses it slightly different in order to best tell the story that she wants to tell.

And the exhibition we're doing is unique.

We've never shown this many drawings.

And it's important because, as I said earlier, drawing was her way of understanding the world herself, getting to grips with things.

She'd draw it.

If she didn't understand something, she'd draw a picture.

Often she wouldn't know why she was drawing that picture, but as she drew it, she'd find out.

Or sometimes she'd look back and she'd realize, oh, that's why I drew that picture.