Thinking of Eduardo’s childhood, I wonder to what extent his visual ‘vocabulary’ was – perhaps sublimely – influenced by an environment that enveloped him at least once a week:
This is the (Roman Catholic) St Mary Star of the Sea Church, Leith. The exterior is rather sombre, the work of Pugin and Hansom, typical of the mid-Victorian (1854) Gothic style. But, inside, we see rich patterns and visual structures that surely echo themes and devices that figured in the 60s/70s print series:
The second of these photographs (courtesy of Barry Gordon) shows the pattern-rich nature of this interior. With geometric themes in the tiles of the floor and the wall surfaces along with several elements of the windows, I’m sure we are looking at the basis of many of Eduardo’s images, especially where blocks of pattern were ‘assembled’ in the manner of a physical building.