Went to Leeds Art Gallery again - I always seem to get the opening times wrong and arrive either a bit too early or almost too late. This time I was looking with some words Dai Harding sent.. I hope he won't mind my quoting an extract here: '.... If a painting cannot compete with all the worlds technology and the business of marketing and product - it must have something not found and not available in the daily rush. This is the thing that excites me about paintings. They are silent. ( Each has an inherent ‘music’ if you like - but they do not give that out, it keeps it like a secret for any looker who may be willing.)...' So I was going to listen to the silence. There was a war theme. I looked at a huge picture of a woman with a steel face and arms wearing a soft dark velvet dress, sitting on a softish looking chair - 'Praxitella' by Percy Wyndham Lewis. The woman was totally lost but her shape was perfect. There was another woman in the picture next to her, and this woman was crying out in agony - what was most noticeable were her huge male hands. This was 'Hear our voices, oh Lord' by Jacob Kramer. Maybe she wasn't a woman, or maybe she wasn't a woman anymore...? In the next room I looked at sculptures. First of all I saw what looked like a plain lump of wood, plain but elegant. It was Hepworth's Single Form (or one of a series of single forms, I think). I also looked at one of Moore's 'Mother and Child' sculptures. Since I left, the only piece I remember clearly is Hepworth's single form. It's absolutely beautiful. How could I not have seen how special this was at once?