Spread across the tripartite vessels in which Naomi now gives plentiful vent to her emotions, the multitude of images relating to the birth of her brother, Stuart, again reverberate the earlier proliferation of interior frottage in the third School Sketchbook. Indeed the triad of conduits consents the images to register a peculiar concertina effect; an image is executed in the Private Sketchbook, then the School Sketchbook, and finally as a separate Extraneous Drawing. The young Jelish apparently impelling images towards their disintegration - an obscure shamanistic or pagan ritual as if to ward off the family's recent addition. From this bizarre process, one can harvest a revised perception of the artists' proclivity towards each vessel's natural property - the Private Sketchbook now stands as the definitive from which all rudiments are temporarily hired.
It is also in this mass of neonatal portrayals that the attitudes of various keepers and collectors are most sharply revealed. Compare the (oh so poetically!) tattered vistas of the late School Sketchbooks and Extraneous Drawings, retained and (I quote) 'not compromised' by initially Demaio and subsequently Kent County Council Archives, to the Private Sketchbook - itself left to rot in the damp attic of Naomi's grandmothers' dwelling. Surely, provided the nature of each collections' resting place, one would anticipate discovering the Private Sketchbook subject to a far greater degree of distress than that expected of the amorously preserved documents held by the twin (evils) educational scions? Alas, one glimpse is more than enough to believe nee guarantee elements of foul play in action. A single source beacons visible, luminous before any other.
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