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:
Courtesy Cruon
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.
