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I took advantage of being in London recently to continue my drawing studies of Venetian lace. I made these in the gallery devoted to lace at the Victoria and Albert Museum.

During the 1990s, Anish Kappor made sculptures that appear to be pure pigment. The first room of the retrospective at the Royal Academy was filled with pigment sculptures, plus the pregnant wall.



Later on in the exhibition, a series of rooms dedicated to extrusions. This (left page) is two views of a very large extruded (really constructed) form. The (right page) other is an immense rusted steel form that is closed at one end, open at the other. The relationship to the domed gallery delighted me. I did not attempt to draw the cannon shooting red wax nor the train-like machine that moved a block of wax tbrough five galleries.

Last Thursday, I spent the afternoon in Canterbury Cathedral. I know that the cathedral is immense, but I forget how big it really is. I sat in the choir to draw this view. This was my third visit to Canterbury.



Here is one of many drawings that I made in the crypt.

The second San Martin cookie I drew earlier in November needed something. So, when owlfish ran into Trafalgar Square to look at the Ghost Forest before we took the train from Charing Cross to Canterbury, I realized that I was across the street from Saint Martin in the Fields and could add a quick sketch of the church to my San Martin. And even better, when we visited the church of Saint Martin in Canterbury (first church built in England) I found a stained glass Saint Martin to add to the page.

A few days ago we visited the church of All Hallows, Mitton, near Clitheroe (Lancs). Our host's ancestors on her father's side are buried here. The church itself dates from 1270.

Various things I drew during the recent trip to England...Canterbury vaulting...our centerpiece from owlfish's garden. The bear is in the Takashi Murakami room in the Pop Life exhibition at the Tate Modern.