Understatement is a force….

After recent research I have embarked on a series of ‘new’ drawings. They are using graphite on torn  paper and I am trying to explore the themes prevalent in my work , the torn surface of the paper creating a fragile material to work with and the subdued colour of the graphite seems to capture perfectly the essence of my current work.

Whilst reading about the works of  Birgit Skiold, I have been able to relate to the social context of her work in the way she wanted to create a reflective mood one of contemplation influenced by aspects of Zen Buddhism and her visits to Japan.

I’m interested in the notion that the work can be ‘ verging on unnoticeable’, so although you may well pass it by you come back to take a second look and sometimes are drawn into the linear complexities.

Drawings take on an oriental self effacement i.e, not drawing attention to oneself and withdrawing into the background……..hence my thoughts of ‘understatement is a force’.

Structures of fragility were starting points in these drawings , seeking perfection, expressing positive states of existence and spiritual inspirations. I have been considering composition and how dense it can be made using small and delicate markings, how formal its content can exude simplicity.

The artist David Musgrave, whose primary practice is drawings, thoughts on his practice are interesting. In an interview in Frieze Magazine his work was described as:

” He challenges your desire for fixed meaning while constantly tantalizing  you with a myriad of possibilities. How precise do you need to be ? How much meaning can you suggest with the slightest of of means ? “

Some of his work is replicates scored or damaged surfaces, elusive imagery all created with graphite, my interest in his work arises from the previously mentioned interview, do you have to really engage to see what his work is about, or would you pass it by ?

Thought about my work been ‘ wordless ‘ since I read this quote from the artist Agnes Martin :

” My interest is in experience that is wordless and silent, and in the fact that this experience can be expressed for me in artwork which is also wordless and silent “

These philosophies are of interest to my work , they make me consider the ‘understated’ and how slight and subtle sensibilities can be embraced and explored within these new drawings.

The Drawing Room…

Whilst I am constantly researching and looking out for examples of contemporary drawing I discovered The Drawing Room last year.

The gallery is the only non profit making one in UK thats dedicated to the investigation and presentation of international contemporary drawing. It explores ideas around drawing and makes them visible in the public domain and provides a unique resource for the promotion of drawing, its practice, theory, and methodology.

Currently they have a an exhibition showing called ‘ Graphology ‘ which is on in London until June. The exhibition aims to explore the genealogy of automated drawing from a contemporary perspective, starting from the beginning of the 20th Century.

The artist and exhibitions featured within this organisation are a constant source of inspiration to my own practice, especially as many of the exhibits tour the UK and MIMA in Middlesbrough been a regular place, where the work receives broader scope, interpretation and dissemination.

Bookworks

My research has taken me to explore different contexts within my work. After the fantastic opportunity that arose for me to get to see the Birgit Skiold Bookworks at South Shield library archives, I have started to experiment with putting some of drawings together in book format. I want to add another dimension to my work, to enhance the viewers experience, to physically hold the work, to touch the textured paper .

Within the work Im hoping to create a rhythm of the line or pattern that eludes to a type of meditation, a calming , restful image created by either drawing or etching the lines.

The first two small works that I put together were in a concertina style format, allowing the pieces to spacially unfold and create a visual narrative. The second option I considered was a box of drawings, again to engage the viewer in opening and looking, sorting, deciding, seeing it as a beautiful box or book than perhaps having a poem or story included.

The Birgit Skiold bookworks I saw were a collaboration with the poet James Kirkup, the text and prints just compliment each other wonderfully, its hard to imagine with came first the text or the print.

Before I can contemplate text my bookbinding skills need to be improved !

Concertina style book, showing collographs 5 x 5 cm.

Second book, showing drawings from ipad.

The books tied together before opening….

Small Images in Lecture Theatre….

Encouraged by lecturers I had an opportunity to use the lecture theatre to show some of my ipad and graphite drawings on a large scale.

Virginia and I discussed the possibilities of taking the work further i.e make them bigger. I was surprised how the images seemed to keep their delicacy and detail, seeing them on a larger scale certainly didn’t take anything away from them.

What I had to consider was why the scale of my work is ultimately so important to me. Currently the size helps to depict its content and the intimacy Im hoping to cultivate, its becomes a private view, sometimes I think only myself can see them….

In trying to critically evaluate the work I have to start looking at the mediums I use, since its this medium of graphite that enables me to create the fragility I always searching for in my drawings, would this be the medium to use if I worked on a larger scale ?

Also to consider, does changing the scale:

1.  Create the fine lines Im used to ?

2. Resonate a quietness to the viewer ?

3. Would the result be delicate and subtle ?

Images larger would definitely have to be viewed from a distance, the space around them would be considered, inspiration from researching the work and writings of Agnes Martin (1912 – 2004 ).  Her superimposing network of pencilled lines and colour bands stained with washes of Colour, delicately drawn marks hovering over the canvas. Especially like her use of monochromatic colour with subtle variations in hue.

Although Im not a painter I feel so inspired by her work.

This selection of inquiry is helping me understand my work and consider her philosophies which seem to underpin the work I do currently.

The image below is an ipad drawing , originally 20 x 15 cm, seen here in the lecture theatre.

Graphite drawing, original 8 x 10 cm, show on larger scale on screen in lecture theatre.

Ipad drawing , intentionally photographed against my own reflection to depict scale.

Considering Physical Context……

 

During the last few months I have been considering where and what is the most successful setting for my work to be placed ?  As regards to the size of my work ,when its all together on the studio wall its hard to imagine each piece standing alone. The work tends to have a sense of belonging when its stands together, or is this just me having an over sentimental view as I tend to do…..last month my diminutive drawings were sent off to furrow their own path in the White Room in the sculpure department. Four of us hung our work and I was more impressed with how everybody elses work looked than my own.

Other work had a great sense of presence, but my drawings seemed to practically retreat back up to my studio !  It made me consider:

Should the work be framed ? Yes I think it needed the definition, so quantify its existence….

Should the work be hung differently ? Yes, I think just because they are small pieces they can be viewed as one piece.

Is the Gallery the right context for them to be seen ? Not sure, but it made me consider alternative ways of showing the work, something more intimate ?

Visit to Mima……

Visited Mima today, to see the Sean Scully exhibition “Change and Horizons .”

The work included rarely seen works and is co-curated by The Drawing Center, New York. I particularly enjoyed the ‘ Horizontals’ series, the colours so subdued and monochtomatic. Some of the grid works made me think of the work of the artist Agnes Martin, whose work coincidently, I have been recently researching. His recognisable geometric abstraction, especially the works with Acrylic, tape, ink and graphite, bear such  a similarity. Looking carefully at the work , it was easy to become absorbed in understanding where the graphite lines start and finish, they are just held perfectly within the image.

Each piece is a dazzling balance as one effect is laid upon another, until a point is reached where enough is going on to keep the painting interesting without been over cluttered with irrelevances.

I thought Mima was a great place to exhibit the work, you were able to look really closely , hence seeing different mediums the artist used. Definitely recommend a visit.

   ‘Horizontals 1 ‘. Acrylic, Tape, Ink, Graphite,    55.3 x 75.6,      1975.

 

Copper Plate Etchings….

After much encouragement over the last few months I decided to try a different type of printing and on a change of surface. I had previously been using  Drypoint card to scratch into, ink up, then print with. I have got to say the results were always good and the only disadvantage of the surface was that it wore away after multiple inking sessions. My desire to create fine lines and patterns led me to look at Copper Plate Etchings, and I soon discovered the benefits.

I had a piece of Zinc and one of Copper to experiment with, so with various tools I practised engraving into the prepared surfaces. Both were wonderful to work with, and so much easier than I had imagined. It was great to be able to etch such detailed patterns, something I hadn’t realise I wasn’t doing on the drypoint card. The finished line was much cleaner and I was able to see how this technique could be an extension of my drawing practice.  Both the etchings were only starting points so they may not be the images I would usually of wanted , but for a first try I was pleased with the results.

Now I intend to carry on with this technique, because its more technical than using the card, I am determined to master the processes so the finished pieces can be successful .

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Copper Plate Etchings  18 x 7 cm.

NGCA work….

I was quite shocked to hear some of my work had been chosen for the Boardroom at the

Northern Gallery for Contemporary Art in Sunderland !

I had been working on a series of drawings using my ipad and was pleased that the results  were similar to those of my other studio work, in that I was able to achieve some of the qualities I seem to strive for within my work.

The drawings are small in size and hopefully after printing the finished pieces will around 10 x 10 cm . I am hoping to complete around fifteen of these, which are to be shown together, framed I think but I haven’t spoke to Alistair from the NGCA yet about this, im sure he will have some good suggestions.

It will be the first time I have shown my work, but I am hoping the experience will give me more confidence to be able to take part in further exhibitions.

This is one of the images that was chosen. The colour is a reoccuring one within my work, it seems to have a calming quality that depicts the theme of work quite well. These images were originally looking at working in a delicate way, making work that may disappear if you touched it, something thats there but almost not there……

The purpose of using the ipad was simply I wanted to see if I could create images that could be viewed as graphite drawings. To experiment with line, colour and tone in the same I would with graphite on paper. I am pleased with the results but am continuing with some others at the present time.

When I’ve considered framing these prints I am looking to see if surrounding the image in a frame would bring a harshness, a barrier to them, that would take away their fragility ?? But do they look as if they can stand alone unframed, will they look insignificant, not sure about this yet.

Graphite Drawings….

I recently finished a series of drawings that I would like framed and to be part of a gallery exhibition. The work is detailed and  constrained, but I think encompasses my theme of fragility within the pieces.

The work is small and therefore seems to have a secretive quality to it, it wants to whisper rather than shout, although it seems to speak volumes about the thoughts and ideas I have had about my work in recent months. I always want the drawings to hold the attention of the viewer just long enough to be able to experience a moment of consideration, to consider the precarious uncertainty of everything we hold precious.

Gallery Visits….

A few of us went to see ‘Transformations’ by Karola McGrah at the McGuinness Gallery within Bishop Auckland Town Hall.

Karola is a third year student here at Sunderland, so we were really  interested to go and look at her work. I had not been to the Gallery before but thought the space was great for the size of the exhibition. We went on a quiet day, which was good because we could sit and talk about the work and had a debate about which were our favourite pieces and why !

I really enjoyed some black and white Collages she was showing, they looked wonderful framed and would show well in any contemporary art gallery.