Tag Archives: Imagery

After Another Hiatus- The Subsidiary Nature of Drawing

Tent:morgay

Camping at Upper Morgay, Various pencils, ink & w’colour on paper, 21x16cm

When I’m away I never stop drawing; perhaps I’m just keen to remind myself of my own existence.

However, I always consider that the real stuff takes place in the workshop. I’ve obviously now given the lie to my pretence that drawing is some kind of pure, primal activity. What I mean is that it’s good to be back to working for a purpose; that purpose being producing paintings, of course. Implicit in that “purpose” is that painting has a higher status than drawing, which in a way it has: paintings are more hard-wearing, more complex.

Getting going in the workshop has been like pulling teeth, so, rather than mither on about that, I’m going to lay out some of the process.       I know I’ve done something similar before but then I seemed to be working with some kind of direction. In this case I feel I’ve been hacking a trail.

glassfeather1

1st Feather in Glass Drawing, Ink & wash on paper, 18x16cm

Glassfeather2

2nd Feather in Glass Drawing, Ink & gouache on paper, 18x16cm

Glassfeather

3rd Feather in Glass Drawing, Ink, pencil & gouache on paper, 18x16cm

Glassfeather4

4th Feather in Glass Drawing, Ink & wash on paper, 17.5x11cm

Glassfeather5

Tiny Feather in Glass Painting, Oil paint on card, 11x10cm

Glassfeather6

Bigger Feather in Glass Drawing, Pencil on paper, 26.5x24cm

Glassfeather8

Feather in Glass 1, Oil paint on board, 24×22.5cm

Glassfeather7

Feather in Glass 2, Oil paint on panel, 33x30cm

It’s useful laying these out. It makes me aware that the more a painting develops (and mine tend to develop through the process of repetitive drawing rather than layering, as if all the layers are left visible at the finish) the more it becomes independent from its source. Whereas the drawings delineate and refer only to their subject, paintings offer much more. All paintings refer not just to the immediate but to every other painting and to the strange state between object and image. They give  something of emotion and otherness. Perhaps all that is, after all, is pleasure.

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Playfully Serious or Seriously Playful- conversation 3

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…

3. David Cook  David Thomas

DCookEvoRevoDavid Cook

CarBrosseEvoRevo2  Carine Brosse

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

Kim Edwards:con3

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-

conversation 3 ruthmccabe

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.

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A Message from Carine Brosse

A (slightly hustly) message had just been placed on Facebook to Carine when an email popped up with this:

CarBrosseEvoRevo

I had no idea how Carine would start off one of these conversations but this is staggering. Lucky person who will have to respond to this!

Carine Brosse is a sculptor, painter, installation builder and all round artist who, unlike many, has a great deal to say in her work and has the language and ability with which to say it. Her imagery is highly personal, usually disturbing and I’m often at a loss to know what it means or where it’s coming from. But it always demands a response.

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