Just returned from a period of snow on the beach (not a cocktail) and leaking roofs in Devon and have much to do. But there was an interesting e-mail when we we got back. I had sent one of the albums to David Cook (he of Airton, fine etchings, Rembrandt-esque drawings and slowly revealed space- see link) and this found it’s way back to Carine Brosse (see previous post). I started this one off with a very anodyne still-life and David has taken the theme and wittily, playfully, torn it up and turned it around and sent it off in a totally unexpected direction which Carine has run with & put another unexpected spin on. (Sounds a bit like a drawing/ 5 Nations final) All this seems to me to release a whole shower of unexpected meanings.
Whatever… I’ll just have to let the images speak for themselves…
Despite what Paul Valery said about words being only as a thin plank to cross a crevasse, not to be lingered on, I’ve increased the size of David Cook’s collage/ drawing so that the fragment of crossword can be read better. But words isolated in drawings draw your attention to the manifold meanings packed tightly within a small group of letters. “Words are little winged fortresses”- Osip Mandlestam
Oh, and congratulations to Carine for having done a faster time than David Ashby in the Paris marathon!
I’m updating this on 8th May because I’m really pleased to have received an addition to this conversation from Kim Edwards, all the way away in Saxmundham
which is taking it further.From the distant echoes of sea in landlocked Grassington to the geographical reality of coastal Suffolk.
This is (for some strange reason) the only book where folk’s have consistently sent in images. Which is nice. But means that I just have to believe that the others are still out there, like William Franklin or Elvis.
But this delightful drawing by Ruth McCabe fell into my in-box last week-
I’d love to have an interactive map showing where all these come from but pencil on paper’s about as interactive as I can do. But it seems that there are areas in the country (and, despite not knowing the place, I do know of many of the artists) such as Suffolk where representation takes a more felt or sensed path rather than the way visual correctness is prized in Yorkshire. I over simplify, but there seems to be a more relaxed attitude in artists in East Anglia.