Robert meets Nick Willing at the studio of his mother Paula Rego (1935–2022) to discuss a major exhibition of drawings and works on paper by Rego, opening this week at Victoria Miro in London. 

The most comprehensive exhibition of Rego’s drawings to date, Story Line features works from the 1950s until the artist’s death, shining new light on Rego’s evolving use of line in media from pen and ink to pastel, conté, charcoal and pencil, and how it was driven by her unique approach to storytelling throughout her life. The exhibition is

accompanied by a new book written by the artist’s son, Nick Willing.

‘When you write your story… invention comes when you do a drawing. As you are drawing something, it very often turns into something else, and you can go with it. It develops in a completely different way, it’s organic and it’s done with the hand. The hand makes it change and so on.’ – Paula Rego, The White Review, 2011

Paula Rego considered herself first and foremost a ‘drawrer’ (her word). From political protest to personal introspection, activism to domestic power games, subversive humour to challenging family relationships, it was through drawing that she understood herself and the world around her, discovering ways of expressing complex

ideas through a single image. As Nick Willing comments, ‘A Rego drawing is never just one thing, but many feelings working together to reveal the truth. They not only helped her understand the world but can also help us understand it too.’Driven by her distinctive approach to storytelling, this exhibition demonstrates how Rego adapted her line to

emphasise the emotional nuance of the stories she told, and how her drawing techniques also reflected her interior emotional narrative. The works reveal the unique development of an artist whose visual storytelling, drawn from a wide variety of sources, spoke directly to us about the essential human traits of desire, loss, violence and power.

The works on show vary from intimate drawings which have never been exhibited before to studies for some of Rego’s most recognisable paintings. These are accompanied by notes, letters, sketchbooks, photographs and other archival material from throughout Rego’s life – among myriad rarities is a drawing Rego made when she was nine years old of her grandmother, while the exhibition concludes with works including a drawing she made of her own granddaughter.

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