Cressida's Transformations - art and photography


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"Journey with a Collection of Portraits", "20th Century Woman" - a collection of portraits, combining photography & painting,

Please Note: We have received many requests for print copies of this publication.

At this stage, it is available in digital form primarily in university and public libraries.  

Send for the list of libraries.  

 

 

Electronic Resource

Distributed primarily to university and public libraries.

 

(47,000 words and images)

 

JOURNEY WITH A COLLECTION OF PORTRAITS  - (Digital) 

ISBN 978-0-473-12281-2 Publisher:  Cressida's Transformations 1 Brookford Place  Christchurch  New Zealand 

 Telephone +64 3 3386462   Contact: KIM Morling

 

 

Kathleen Notman transformed herself into 35 different 20th century women for her collection of portraits by that name.

Once complete, she set out on a journey to distribute the portraits to the places of their provenance,

This is her fascinating story.

 

REVIEW:

They say that everyone has a story to tell - and that's definitely true in the case of New Zealand artist Kathleen Notman.

Journey with a collection of portraits is a captivating account of her colourful life and how her experiences, and the people she met, influenced her art.

Notman, born in 1929, grew up in the Midlands of England and lived briefly in Singapore before emigrating to New Zealand. Through her own experiences and observations she brings to life some of the historic events that shaped the 20th century and explores her own journey of self-discovery - a journey she has catalogued through the years with portraits which blend painting and photography.

Narrated in the first person, Journey with a Collection of Portraits, is cleverly crafted and stikingly illustrated with Notman's own art. The story behind each portrait is explained as Notman fulfuls her need to return them to the places - and the people - that inspired them.

Journey with a Collection of Portraits not only provides an insight into the life of a determined and gifted woman but it also provides an insight into the female psyche and how art tells its own story.

(Reviewed by Lois Watson, award-winning journalist, New Zealand.) 

 

Excerpt:

    By 1941, the flat lands around Boston had become scattered with aerodromes. Word would get around when there was to be a night bombing by our planes over Germany from Coningsby, the closest aerodrome to us.

  The planes dominated life. They flew over us and around us - a reminder that we were all expected to do our bit for the war effort. I hated knitting, particularly khaki coloured balaclava helmets and socks, but I happily worked in the fields.

   We lived in difficult times when death was commonplace. Once when we were in the fields we looked up to see a Lancaster bomber with one wing missing, spiralling toward the ground. Some screamed. Some bent their heads and sobbed. None was unmoved by the sight. We saw just two parachutes open and realised the fate of the rest of the crew. 

   Yet Olga's death came like an unexpected bomb that shattered many lives. She was shy, gentle and loving, dark, skinny and pretty. She was everything I was not.

   The accident happened outside our Church. She was cycling home from school on the first day of December 1942, five days after her sixteenth birthday. It was a damp day. An army convoy of lorries and tanks was travelling through the town. She might have swerved out into the path of the lorry. She was delicate so her bike might have been too heavy for her. Nothing anyone did to explain how the accident happened could bring her back. 

   I was already at home when a knock came on the door.

"Tell your mother there's been an accident. It's Olga!"

I cycled to the scene while my mother started to walk there. Olga had been taken into the house across the road from the Church. She had been placed on the kitchen floor. I saw her. Her brains were trailing beside her head like pigtails.

"She's not going to be put on a cold slab in the morgue," my mother yelled.

She was brought home. Hiding the massive injury, white bandages were draped around her head. She looked as though she was wearing a fashionable turban. She was put to bed on the side where she always slept and my parents and I sat beside her. My immediate selfish thought was, where I was going to sleep. As much as I loved her I could not sleep beside her now she was dead. 

"She's still warm," my father said as he kissed her face. "She can't be dead."

He wept as he stared at her in disbelief. Her face was unmarked and she looked as if she was just sleeping. My mother gently sobbed. I remember her taking her hand and stroking it. "Mummy's here, darling," she said, comforting the corpse as she had so often in the past comforted the living child.

   But life had left the lovely, gentle, twinkling, Olga with the long, skinny legs she disliked and I envied.

   I had a new hat and coat for Olga's funeral. Relatives came from Leicester. Our small semi-detached house was packed with people. Some were praying, older people were crying, "why couldn't it have been me instead of a young girl?" I watched her coffin as it was lowered into the deep, dark and desolate hole. I turned my head from the darkness and read the inscription on the newly placed wooden cross on the grave next to hers. A young soldier, killed by a landmine a few months before, lay beside her. Here were two young people in the corner of a small English graveyard. Hitherto, the old graveyard was declared, full. Yet, at the insistence of our Vicar, one free space of land in one corner was opened to let in the young soldier and now a young girl. Our Vicar told the Bishop that they belonged here - they should always be here.

   Still, they peacefully lie, undisturbed. Two heaps of bones resting side by side, the remains of two once vibrant, once promising young people who died tragically during a war.