William Coldstream

smoke, and then it would be a free for all.

To be honest, I think I had so many incredible teachers along the way that I wasn't, you know, when we talked about lacking of empathy, you know, I mean, I thought he was intriguing and I thought he was unique and, you know, and I think it gave me 10 minutes to realize I didn't want to be an American William Coldstream.

So there was no problem, wasn't chasing a rabbit.

When I was there, actually, the majority of the students were female.

Thank you, Michael.

Let's move on to discuss Euan as a teacher and the lineage of his education, the Euston Road School via Camberwell, and specifically the tutelage of William Coldstream.

What do you know of the origins of the Euston Road School method? What did the Dot and Carry system comprise of, and how did Euan advance it or make it his own in a way that stands out from Coldstream's practice? Either of you can take it.

Um, what I know is that it started out in sort of 1930s with, uh, William Coldstream, Victor Passmore, a- and Claude Rogers and Graham Bell, and they, I think, were, um, coming out of or getting dissatisfied with the sort of, you know, going, working through, um, School of Paris type of painting or coming to terms with abstraction and things like that and not really wanting to go down that road.

Mm.

And then, um, I think, like, Coldstream got involved in, um, documentary filmmaking, and it was a, like, c- came out of painting and, um, I think they had this sort of feeling of being, they were quite left-wing intellectuals and kind of being more utilitarian and accessible or whatever.

I have so much material from this interview that I will be releasing the second half in another episode shortly.

Here are some of my favorite takeaways from this part of our conversation.