One of many least endearing characteristics of our get older is certainly youth worship. I could understand that advertisers might need to target a big and gullible viewers abruptly and unaccountably blessed with disposable cash flow (or should that come to be credit rating?), but to attribute wisdom or originality to youth is normally a rash action indeed. The focus paid to little artists in new decades is continuing to grow more and more disproportionate, for no justification in addition to the follow-my-leader mass media circus which will keep their antics before an extremely bored and bewildered (if certainly not downright cynical) consumer. On the other hand, the invariably bigger achievements of mature performers are ignored because they’re certainly not considered ‘newsworthy’. Consequently may be the serious and satisfying disparaged, and the immature and meretricious lauded to the telegraph poles, if not quite the rooftops.
Utterly professional, Roland Collins prides himself on turning his hand to many techniques. He has worked successfully as a developer and illustrator (he designed the sleeve for the 1st British LP record in 1945), a printmaker (he made a superb suite of lithographs to illustrate Noel Carrington’s book Colour and Pattern in the Home in 1954), a muralist (Greek restaurants a speciality), a photographer and a writer (he wrote the text for a children’s reserve, The Flying Poodle , in 1951, and illustrated another poodle reserve, the novel Fifi and Antoine by Charlotte Haldane in 1956), but most importantly he is a painter.