Category Archives: Drawing 2

Assignment 5 – Reflection

I think the buried paper and canvas provides an interesting background to the drawings. The maps on paper with the black lines and watered down ink painted in some areas provide good contrast and the image stands out quite well. On the canvas, the effect of the ink lines is much more subtle and the work has to be examined close up – I think this process of having to make out the image and decipher it fits in well with this section in making the viewer spend time viewing a drawing. The process of burying and re-discovering the pieces covered in random interesting marks is something I may take forwards. Drawing the image on the paper/canvas first may be a more interesting way to work, although drawing on it afterwards as I did this time worked surprisingly well. I think the combination of planned and random mark making is the area of drawing I am most interested in and this has given me another option in doing this.

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Assignment 5 – Final Images

The buried paper and cloth had great random marks on them and offered a lot of potential and I decided to present these as triptychs.

Decay for me is linked to discovery, of interesting objects/textures/etc. And wondering about the origins and previous uses/lives of objects. This ties in with my fascination with maps as a way of discovering new places or hidden evidence of old settlements/etc. So the first 3 images I decided to draw on the paper pieces were maps of the area in which they were buried.

The cloth pieces were reminiscent of a shroud, so I decided to do something different for this. At a recent life drawing session we drew a pregnant model who was going to have to give birth to a still-born baby. This was quite an emotional session and resulted in two drawing, a quick sketch and a longer drawing.

I gave the longer drawing to the model, so I only have the short sketch.

I decided to re-draw this onto the cloth pieces from three different angles (the 2 angles I didn’t draw imagined views).

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Assignment 5 – Unearthing

The pieces left in the environment were not as successful as I had hoped, with very little effect from having spent time underwater or underground.

I decided to abandon these at this stage as I didn’t have time to re-do in another way.

Fortunately, the paper and canvas buried in tubs proved to be much more successful.

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Contextual focus point: Frank Auerbach’s portraiture

Frank Auerbach paints by building up layer and layer of paint. He paints the same people over and over again, and each painting is an accumulation of hundreds of sittings, with the paint scraped back to the canvas at the end of each day until the resulting image is ‘right’. A huge amount of paint is applied to the canvas and close up they appear as a mass of colour and texture, it is only in stepping back from the image that it comes into focus.

I have only seen one of his paintings in the flesh, ‘Maples Demolitions, Euston Road, 1960’ in Leeds art gallery. I found the close up views of the textures and colours of the paint interesting, but was less moved by the overall impression of the image.

Viewing his portraits on screen will not give the same experience and his portrait paintings seen this way do not inspire me. I am sure they would offer more if viewed in person though. The image which did grab my attention whilst searching was ‘Self-portrait, 1958’ (Artsy.net, n.d.), this image in charcoal and chalk on paper which has been patched or collaged I find very powerful. The collaged background produced interesting random marks which appeals to me and the charcoal drawing has a sense of energy and urgency. In contrast to his paintings this appears like a much quicker drawing.

References

Sooke, A. (2015). Frank Auerbach, Tate Britain, review: ‘astonishing’. [online] The Telegraph. Available at: https://www.telegraph.co.uk/art/what-to-see/frank-auerbach-tate-britain-review/ [Accessed 19 Jul. 2019].


Artsy.net. (n.d.). Frank Auerbach | Self-portrait (1958) | Artsy. [online] Available at: https://www.artsy.net/artwork/frank-auerbach-self-portrait [Accessed 19 Jul. 2019].

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Project 4: Time and the viewer

The aim of this project is to make a drawing which forces the viewer to use time differently. The rust drawings I have been doing create a sense of time passing in that they look old as soon as they have been produced. They also represent time passing in that they require time to produce as it takes a few days for the rust to print onto the surface of the paper. I decided to extend this time passing by producing a drawing which took a longer time to complete. This would be done by producing a life drawing, initially drawn at a life drawing class, then traced and reversed onto metal, scratched into and rust printed, then drawn back into at a second life drawing session with the same pose.

The initial life drawing
The drawing reversed and scratched into metal
The rust prints (I did two prints, one on rough and one on smooth paper)
The two final drawings

Reflection

In looking at these images I think the viewer will take time to explore the work, the random and planned marks make interesting viewing, the thoughtful look on the model makes the viewer imagine what she is thinking about. The random scratches which were already on the metal sheet also add a sense of movement to the image including another unexpected sense of time. I’m not sure the time spent as an artist is immediately visible if the viewer is unaware of the processes involved, but I do feel a sense of time passing is evident.

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Project 3: A finer focus – Production

I decided to explore the potential of doodling and continuing my work with combining random and planned mark making and the use of burning and ink.

I started off by laying 3 firework fuses across a piece of paper and lighting them to provide 3 linear burn marks across the page. I decided to contour around the burn marks with ink, but decided that they would all become quite uniform after the initial lines around the edges started to approach the centre, so I added 3 sprays of ink to also contour around and provide more interest.

I forgot to photograph this as I went along, so only have the image of the final piece:

Reflection

The sprays of ink did help to provide more interesting shapes in this image, but I wonder if some different marks might have fitted better with the whole piece. I also wasn’t consistent with the gaps between the lines, as I got less patient with the drawing. Some variation in different areas works well, but I perhaps got too far apart on the edge sections.

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Project 3: A finer focus – Research

Looking for artists who work in a meticulous way I used Vitamin D (Dexter, 2005) for my research. I have selected a few highlights from this below.

‘Fraying the ropes’ [ink on paper] (Ernesto Caivano, 2003) p.53

This is a mixture of illustrative imagery and detailed doodling, it uses a wide variety of mark making which maintains interest when exploring the image. It is very detailed and made up of precise ink lines, depicting a scene of a fantasy story written by the artist. It is the depiction of the tree branches and the scientific molecule drawings which appeal to me.

‘The World’ [mixed media on paper] (Simon Evans, 2003) p.100

This is a huge drawing (1.6mx2.2m), so is difficult to appreciate from a much smaller image in a book. The drawing is laid out as a map of an island, with the areas depicted mostly filled with text (unreadable at this scale) or doodle like drawings. The use of imaginary maps provides a structure on which to base a drawing which could be an interesting option to explore.

‘Safe and Quiet’ [graphite on wall and canvas] (Glexis Novoa, 2002) p.229

Novoa produces beautiful detailed images of dystopian city-scapes. They depict generic cities with large and impressive buildings, but devoid of any human life. The use of a bold horizon line where the city meets the sea works well with these images.

‘C 1 030502’ [pencil on paper] (Frances Richardson, 2002) p.266

Richardson only uses negative (-) and positive (+) signs to draw her images, using gradation of intensity to provide interest in the mass of repetitive marks.

‘Studio dal vero (Life Study)” [graphite on paper] (Serse, 1999) p.281

Serse draws in a photo-realistic style using reductive drawing by erasing into a graphite base. This image shows off his incredible skill in not only depicting the water splash in such detail, but also giving it added depth and contrast which I suspect wasn’t there in his photographic reference image.

(James Siena, 2004) ‘Slice’ [graphite and coloured pencil on paper] p.293

I have picked this piece because this is the kind of drawing I am planning to do for this project. Siena’s drawing here doesn’t appeal to me due to its uniformity of mark making and colour choice. However, the use of shapes similar to contour lines offers and interesting avenue to explore.

References
Dexter, E. (2005). Vitamin D. London: Phaidon.

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Project 2: An artist’s book – Production

The idea I decided to explore from my research was a book of burning. In an effort to be more environmentally conscious with my work, I used the paper offcuts from my parallel project drawing for the pages of this book and furthered my experiments with burning and adding to these with ink to provide the subject for the book. These were joined together with a simple pamphlet stitch hidden in the centre.

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Project 2: An artist’s book – Research

Artist books are tricky for me to get my head around. I think they offer a great way of exploring a theme and can result in some fascinating work. They allow the artist to tell a story, or explore an idea in much greater depth than a single image could ever do. “It becomes an experiential medium for creative expression” (Chen, 2013). I have been to an artist book fair and admired the skill and artistry of this form of work, and could even see myself exploring using this medium for certain projects. But I do think they fall down in their means of displaying the art work to the viewer. If I bought an artist’s book, it would get enjoyed initially, but then it would get confined to a bookshelf and never seen again, whereas a framed drawing would bring me much more enjoyment as I pass by it. Similarly, the display of an artist’s book in a gallery would have to be in a display case and would then only show a few pages to the viewer, so not allow them the full intended experience.

My research for this section was carried out using the book ‘500 handmade books. Volume 2’ (Chen, 2013). This book contains images of many artist books, but without explanations of what they are about or why they were produced, so my impressions of them are solely based on the look of them and any interpretation drawn from the book title.

‘For Bees Who Travel by Truck’ (Kaylynn Sullivan Twotrees, 2011) uses burnt edges for some of the pages and combines random and placed mark making on the book cover.

‘Walks with Rosie’ (Andrew Huot, 2009) looks like he has drawn maps of his walks over time, without the context of the background to place them in space. This offers interest by leaving the detail of the route up to the viewers imagination.

‘Untitled’ (Kaitland A. Marek, 2011) looks like contour lines from a map. It is hard to say from a small picture in a book, but whilst these would be interesting for me due to my love of maps, on their own I don’t think they would hold my attention for long as the mark making is very uniform.

‘The Fire Extinguisher Family Reunion’ (Sarah Smith, 2009). From the 2 pages on display, I can tell that she is quite clearly bonkers, but I like bonkers! As a humourous book, I really like this one, but as a drawing book, the drawings are straight illustrations which don’t provide interest to me as drawings.

‘Chasing the Sun’ (Frank Hamrick, 2010) uses a line through a book apparently made using tea. The slightly controlled but random nature of this line hold interest for me and producing a book following a line though it is a possibility for my response to this project.

‘Fibonacci’s Tower’ (Jamie Ash, 2009) is an interesting sculptural piece based on/around a book. The wood or aluminium pieces are painted in the same way as the bronze pieces I make and he also uses burning on the edges of his pieces of text.

All these books are inspired by whatever the artist is interested in and offer a way to explore that subject on a greater depth than other mediums would have offered.

This research led me to two different ideas of artist books I could try:

  • A book of burning – using burning experiments and descriptions of what was tried
  • A continuous line using different mediums through a concertina book (continuing ideas from the mark making experiments in part 2 of this course)

References

Chen, J. (2013). 500 handmade books. Volume 2. New York: Lark Books.

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Mark Making Revelation

I have been going to life drawing classes for six years now, but last night’s class was something of a revelation. The classes have recently changed to be run by different members of the group each week and explore different ways of working to try to get us outside of our comfort zone, my comfort zone being working on a rubbed in charcoal base and focussing in on tone. Last night the class tutor (Helen Peyton) lead it exploring mark making. We started off with continuous line, then opposite hand drawing, hatching/stippling, drawing in ink with various implements and finally charcoal on the end of a long stick. These are all exercises I have done on this course and the previous drawing course, and at times in the life drawing class, but this time I finally got the point! In combining these different methods, interesting mark making happened and exciting results started to emerge. What Helen said during the class really resonated “you can view a drawing which is like a photograph and appreciate it, but then walk away and never want to see it again. But a drawing made up of interesting marks will excite you and you will keep coming back to it” (not word for word). The drawings I produced are not fantastic pieces of work when viewed as a whole, but when you look closely, some of the mark making is.

Full images:

Details:

This is an exciting area to explore now, rather than a seemingly pointless exercise to have to get through. The revelation has come too late for most of this course, but I think it could lead in interesting directions in the future. It also fits perfectly with the interest I have already identified on this course with matching detail and random mark making from processes like rusting and burning.

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Assignment 5 – Initial thoughts

The course notes suggest to try to harness the primary force of time in a creative way.

Thinking of how this fits in with my interests, there are a few different approaches I could take:

  • Rust printing – continue work on this
  • Burning – action of heat and time
  • Decay – bury paper/canvas in the environment for a period of time

The last of these requires time for the paper/canvas to be affected by the environment, so I started work on this straight away (whilst still mulling over the other options in case they didn’t work).

I did some searching, but struggled to find other artists who did this apart from Kyla Dante. Her piece “Journey- book 3, 2011/2012” is a canvas book buried along a journey around the Lake District (Dante, n.d.) which chimes with the work I am interested in making. How she produces her work, how long it is left, etc. is unknown, so I tried a few different things.

Using a batch of paper and canvas cut to a similar size. I buried these in layers in a tub between earth, ash, metal, etc:

Tub 1:

  • Soil
  • Paper
  • Rusty metal
  • Ash
  • Canvas
  • Rusty metal
  • Gress
  • Soil
  • Canvas
  • Coffee
  • Paper
  • Dandelion heads
  • Grass
  • Canvas
  • Soil

Tub 2:

  • Soil
  • Paper
  • Ash
  • Canvas
  • Soil
  • Canvas
  • Coffee
  • Paper
  • Dandelion heads
  • Grass
  • Canvas
  • Ash
  • Soil
  • Paper
  • Mint roots
  • Soil

These were made up differently, but similar in some ways, as I would need to test unearth one tub first to see the impact to know how long to leave the second tub.

I also left some pieces in the environment:

Two canvas pieces, with maps of their location drawn on in ink. One left under a stone in a pond, the other left under a stone on a track which was usually wet.

A folded paper piece, produced on a search for a specific ash tree from a photography book with a fellow artist. This was buried in a damp place under a large boulder near where we found the elusive tree – still looking very similar to the photograph taken 20-30 years ago.

References
Dante, K. (n.d.). Books – Kyla Dante Artist. [online] Kyla Dante. Available at: http://kyladante.co.uk/portfolio_page/books/ [Accessed 8 May 2019].

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Assignment four – Tutor Feedback

The overall comments on my assignment submission was that my tutor is concerned about meeting the assessment criteria and that I should produce more rigorous personally driven and critically focused work. I am confident that my parallel project work will fulfil this and I will strive harder to make this come out of my stage 5 work also.

She is pushing me to try to expand my drawing to include more sculptural investigations. I find difficulty with this, seeing my drawing and sculpture work as being quite separate. Although links between them are getting stronger as time goes on, I find the way I think about sculpture work to be quite different and not informed by drawing beyond sketches and designs required to work out the practicalities of construction.

I need to direct research more towards the development of my own practice and focus in on work which will make an impact on that.

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Project 1: A changing scene

The course notes specify to “Find a fairly busy scene, with plenty of movement.” – in a rural village, that isn’t a scene which features people, so I chose to draw my bird feeders. I get a lot of sparrows feeding on these and whilst they are hard to capture due to their speed, they return often enough to capture them again in the same positions (or near enough).

My first attempt was a bit messy as I’d drawn the feeders and birds in black ink and they didn’t fit together that well.

I tried again, this time using watercolour for the feeders and black ink for the birds. I drew the birds first in pencil, then used a bold black ink pen to go over them. This didn’t work very well as it lost any sense of movement in the birds from the sketchy lines of my first drawing.

I went back to my sketchy ink lines with a pencil background this time which worked a bit better, although I prefer the watercolour background to the pencil.

Reflection

Drawing fast moving scenes is not easy and I think it would take a lot of practice and skill to make these look good. In my case I think I would need to draw a lot of still images of sparrows in order to know how they look well enough to draw them quickly, either in detail or as simple sketchy lines.

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Test Pieces

I made some smaller test map pieces so I could try out various different ideas on them without being too worried about the wasted time and expense with the ones which didn’t work.

Rust print and burning only:

This works well, but I don’t feel it is enough on its own. The burn marks are also too precise and controlled. I may have to try this using gunpowder on a full size version.

Adding ink to represent the non-ash trees in the landscape:

The green ink I have is a bit too sickly. I might be better doing this in watercolour if I want to add colour in this way.

Adding black ink detail:

I like this combination of randomness and precision. My concern is whether this will translate well to the larger images. Maybe some small sections like this would work?

Here I tried using masking fluid to mask out a leaf pattern over the whole map, wetted the paper and drew around the masked area in black ink:

I don’t think this was very successful, the masked areas are too roughly done when on top of the (relatively) crisp rust marks. Also it ended up with two different images your eyes try to picture alternately, more likely to make you cross eyed than interested.

Adding an ink drawing of the cup-fungus (in white ink) on a midrib (in black ink):

This is similar to the previous test in fitting two different images on top of each other and again I don’t think this one works either.

Adding gold leaf in some of the burn holes:

Representing rays of hope in some ash trees hopefully surviving the disease. On its own it is not hugely successful, but it may work with the detailed ink drawings? It is too hard to tell on a small scale though and may have to be tried on a full size version.

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The Work

I plan to make 5-6 large drawings using maps as a starting point with holes burned through where ash trees stand.

I also plan to make a similar number of large drawings of ash midribs with Hymenoscyphus pseudoalbidus (white cup-fungus).

I will also produce some accompanying sculptures.

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Research

Originally the disease appears to have come to Europe from Eastern Asia (Baral and Bemmann, 2014). It was first identified in England in 2012 due to the importing of infected trees from the continent as well as from windborne ascospores (Orton et al., 2017). The increase in global trade is blamed for this and many other diseases of a similar nature. When you look at the figures which suggest that ash imports could have been as high as 3.5 million trees a year (Sansford, 2013), it is no surprise that the disease eventually made it to these shores.

From Forestry Commission reports, “Ash accounts for approximately 14% of total broadleaved standing volume in GB” (Sansford, 2013), but the impact when looking at the Yorkshire Dales National Park is much greater. “Ancient semi-natural woodland covers about 1% of the Yorkshire Dales National Park. About 80% of this woodland is made up of ash, making it the iconic tree of the Dales.” (Yorkshire Dales National Park Authority, 2018)

Ash disease has two forms:

  1. When the tree is in leaf (summer), its form is Chalara fraxinea. It fives in leaves and twigs and damages them by releasing viridiol which is toxic to the tree. It also produces sticky spores called conidia which can be spread around the tree by rain
  2. In autumn, it turns into Hymenoscyphus pseudoalbidus, a small white cup-fungus, which appear on fallen ash leave stems (midribs). These cups puff out ascospores (1/1000mm in size), one midrib can have around 20 cup-fungi, each producing around 1,500 ascospores an hour for about 2 weeks (Rackham, 2014) or around 100,000 ascospores each (BBC, 2018). These ascospores float on the air and are spread by the wind.

When I initially investigated Ash dieback, I thought it meant the end of all ash trees in the Yorkshire Dales, which would be a devastating loss. However, on further investigation it appears that this is not the case and it does not always kill the trees it infects. The disease starts in the leaves and spreads into the twigs and then can travel into the branch. However, the tree’s natural defence mechanism walls off the damaged areas and the infection appears not to continue in future year’s growth and new shoots form from buds below the damaged area (Rackham, 2014). In less vigorous trees the new shoots can become infected also and the whole tree may die. This is also certainly the case in young trees as is evident in the woods near my house.

Some trees appear to have a genetic resistance to ash dieback and in studies 5-10% of trees do better than others, even when next to dying trees. Professor James Brown is confident that ash will recover in Britain, but it will take a few hundred years for this to happen (BBC, 2018).

Relevance

It was interesting doing the research into the disease, but what am I going to do with this new found knowledge? Well, apart from being less depressed by knowing some ash trees are likely to survive, I have taken a few things from this:

  • Much of the detailed science in the available papers on the disease goes over my head, but many of the papers provide diagrams and images of the fungus and ascospores which have interesting forms and may provide inspiration for drawings or sculptures.
  • Representing the two different states of the disease might be an interesting approach?
  • The release of many thousands of ascospores might be interesting to represent – maybe with charcoal dust, or sparks from gunpowder?
  • The likelihood of some trees surviving gives a glimmer of hope – this might be represented by using gold leaf?

References

Baral, H. and Bemmann, M. (2014). Hymenoscyphus fraxineusvs.Hymenoscyphus albidus– A comparative light microscopic study on the causal agent of European ash dieback and related foliicolous, stroma-forming species. Mycology, 5(4), pp.228-290.

BBC (2018). The New Forest. [podcast] Gardeners Question Time. Available at: https://www.bbc.co.uk/programmes/m0000sdq [Accessed 15 Apr. 2019].

Orton, E., Brasier, C., Bilham, L., Bansal, A., Webber, J. and Brown, J. (2017). Population structure of the ash dieback pathogen, Hymenoscyphus fraxineus, in relation to its mode of arrival in the UK. Plant Pathology, 67(2), pp.255-264.

Rackham, O. (2014). The ash tree. Toller Fratrum: Little Toller Books.

Sansford, C. (2013). Pest Risk Analysis for Hymenoscyphus pseudoalbidus for the UK and the Republic of Ireland. [online] Webarchive.nationalarchives.gov.uk. Available at: https://webarchive.nationalarchives.gov.uk/20140904094312/http://www.fera.defra.gov.uk/plants/plantHealth/pestsDiseases/documents/hymenoscyphusPseudoalbidusPRA.pdf [Accessed 15 Apr. 2019].

Yorkshire Dales National Park Authority. (2018). Ash dieback hits Park. [online] Available at: http://www.yorkshiredales.org.uk/living-and-working/other-services/press-office/news/recent/ash-dieback-hits-park [Accessed 15 Apr. 2019].

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Assignment four – Reflection

This piece worked quite well in the end. It would have been nice to have the pieces suspended so people could walk under it without garroting themselves, but I’m not sure how that would be possible without having them spinning rapidly around. I had worried that despite using the largest card I had, the pieces wouldn’t be large enough, but they showed up well enough. The more illustrative approach worked well, although they were better on the side photographed than the reverse.

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Assignment four – Installation

I had scouted out the local wood and picked an ash tree to ‘dress’, but on the way to it, picked out a more suitable specimen:

I took along all 7 triangles so I had the option to hang as many as would work whilst on site and used fishing wire to hang these in place. Hanging the first of these identified problems with the work spinning rapidly in the wind, so holes were added in the corners and attached to branches on the ground. This worked to hold them still, but meant that the work couldn’t be walked under due to many invisible wires going down to the ground! I also soon found out that I should have practiced some knots before I headed out!

After three triangles had been hung up, I decided that was sufficient and proceeded to take photographs of the pieces in place.

The video below may make you feel sea-sick as the ground was very rough to walk over!

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Assignment four – Preparation

I decided to link this to my parallel project and produce work based on ash dieback.

My initial idea was to use it as a test for the ash dieback fungus drawings I intend to produce as part of my parallel project, cut them into circles, stick them back to back and then hang from an ash tree.

Thinking this through, I questioned myself “why circles?”. It has no meaning, and is just a shape that might look good hung in a tree. It would also spin in the wind which might not be wanted?

Thinking about other possibilities, a triangle came to mind. On its own, this shape is similarly meaningless. However, using the language of road signs, it is a warning sign, especially with a red outline. This is exactly the message I want to get across. It also offers the opportunity to secure the corners to the ground if I didn’t want it to turn in the wind.

I started out making a small  triangle on card, before realising it would be far too small and would be lost when hung from a tree.

I dug out some larger black card and made 6 more triangles at the largest size I could manage. After drawing on 2 of these, I realised I needed to go more illustrative as these needed to be easily viewable and identifiable from a distance.

The last 4 worked better when I used cut out paper to create the designs.

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Project 3: Installation

I struggled to think of large-scale work which wouldn’t directly or indirectly (through use of materials) damage the environment. So I thought I might go small instead. So an early idea for this was to solder wires together to make spiders webs and leave them on dead trees in the local woods. I tried doing one of these, which worked out OK. However, whilst doing research for this section I began to question whether this would be an installation, or due to is being small, an intervention. I decided it would be the latter, although I guess a large number of them would increase the scale to the point of an installation.

I decided to re-think and came up with an idea for producing an installation in my spare room.

This is used as a general dumping ground when no-one is staying, so some clearing up will be required before doing anything, but I sketched out some ideas on photos of the room:

My thinking was to have a continuous line around the whole room, in some ways similar to Edward Krasinski’s blue tape line (Tate, 2019), although not a straight line and varying in media in different areas of the room.

Curtains – draw across window, line sewn in? Or maybe just in tape so doesn’t have a lasting effect on them.

Bookcase/shelf – line in wire coming out into the room similar to Eva Hesse’s line coming out from the picture frame (MoMA.org, 2010) – going through books on bookcase and around pots on the shelf.

Wardrobe/door – lines in masking tape to avoid damaging them.

Wall by door – have the line follow features in pictures on the wall (echoing work in project 2 when interacting with the environment).

Wall above bed – cover wall with life drawing images (maybe part cover them over in charcoal?) and draw a line across all of them in white or silver echoing a heartbeat from a hospital monitor.

I started with the curtains, using ribbon pinned onto them, with marking tape continuing the line to the next wall. Then I started on to the wire through the bookcase and shelf. I couldn’t bring myself to drill through any normal books, but I had a couple of work ones which were being thrown away. These required propping up as they were not very stable – I guess they could be glued down if this was a more permanent installation. It was more difficult than I thought it would be to make the wire do what I wanted it to, probably because my end points weren’t very stable.

Using masking tape around the cupboard and door worked OK, but the tape didn’t stick very well to the picture glass and it’s size meant that it obscured the features it was following rather than highlighted them.

I then covered the main wall in life drawing images. I decided to draw over them using red 3D paint. This worked quite well, but didn’t stand out quite as well on very dark areas as I had hoped.

Reflection

It was good to go big on this project and produce work which used the whole of a room. Scale often constrains my work as my house is full enough already without keeping adding to it. It was nice to shift scale and think what could be achieved on a large scale on a temporary basis.

I think the wire element of this installation could be developed more. Books of relevance (maybe one on Edward Krasinski?) could be used if I could bear to drill through them. More could be made of the wire puncturing these, or the wire could perhaps be shaped into words as it exits the books?

The masking tape over the pictures was too thick and ended up obscuring the features it was following rather than highlighting them. A thinner line in paint or wax might have been better (if it could be removed afterwards). What would have been really good to do would be to draw onto the landscape in a way similar to Christo and Jeanne Claude’s ‘Running Fence, 1972-76’ (Javacheff and Denat, 2019), and use images of these to continue the lines.

The wall of life drawings provided a big impact piece on the wall of the room and looking close up, the line over these drawings worked the best. However, it was not very visible from further back, so a thicker line or a different colour would have made it stand out more from the background.

References

Javacheff, C. and Denat, J. (2019). Projects | Running Fence. [online] Christojeanneclaude.net. Available at: https://christojeanneclaude.net/projects/running-fence [Accessed 8 Apr. 2019].

MoMA.org. (2010). On Line: Drawing Through the Twentieth Century. [online] Available at: https://www.moma.org/interactives/exhibitions/2010/online/#works/02/49 [Accessed 5 Mar. 2019].

Tate. (2019). Edward Krasinski 1925-2004 | Tate. [online] Available at: https://www.tate.org.uk/art/artists/edward-krasinski-10009 [Accessed 9 Apr. 2019].

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