As well as producing many eloquent realisations, the botanical corpus also introduces the spectator to an exchange that will predominate Naomi's subsequent output - that between the student and 'educator' (I use the term begrudgingly) Ms. Anita Demaio (note not a Sister!). Initially Demaio's comments seem a tad derisory (perhaps born out of a little jealousy?), though they sharply progress to pernicious spite. Page thirteen of School Sketchbook two (SSB.2-13) bears witness to Naomi's reprimand over the appearance of her moniker after a successful execution whilst page twenty-seven of the same document (SSB.2-27) sees the gifted scholar harangued over her "limitations with scale" (this example is particularly humorous as Naomi once disclosed to me that the paper the children employed was provided by no less than Demaio herself). Should a child not be rewarded rather than scolded for success? Should they not be applauded when they are striving towards the correct bearing? Unfortunately for our young don it appears Demaio sentiments lay elsewhere. Though speaking ill of the dead pains me, I do believe it a God-given blessing that no eager student and the malevolent conduit that Demaio was will never cross again.
detail of page 13 of School Sketchbook #2
Despite the constant interruptions of Demaio (regrettably more on that later) Naomi's talents soared within the 'Natural Forms' project that covered her first term at school. Retrospectively one can trace a trajectory of fear and apprehension through the arrangement of the drawings. Commencing with a triad of blooms (marigold, sunflower and rose, respectively) the succession is halted buy the capture of a lonely iris, which is superseded by an analogue of paternal counterparts.
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