Showing posts with label drawing. Show all posts
Showing posts with label drawing. Show all posts
Thursday
The Prophet and the Bees - Exhibition at Shakes Galerie, Prague
My second solo exhibition, held in Shakes Galerie, U Lužického semináře 10, Praha, from 15.1.2010 to 15.2.2010. I had my brown notebooks on display, and unfortunately (to put it mildly) one of them went missing during the exhibit. Nine months of annotated research, writing, and drawings for my upcoming MA gone all at once. That'll teach me the folly of not backing everything up online...The series of large (~6' x 2') works after which the show was titled are mixed media monoprints / drawings based on the idea of pareidolia, or seeing patterns in random stimuli. They are process-works, printed with ink-soaked scraps of paper, which leave a variety of traces. These traces are built up into layers of texture, which begin to suggest forms. I then use a variety of hand-media to bring out the forms I 'read-into' the textures. Perhaps because of the nature of the semi-dreaming process I use, or perhaps simply because of my preoccupation with mythology and symbols, the forms which emerge from this process tend to be resonant with linked symbolism and implied narrative. I then add handwritten and transfer-type words and letters that spontaneously occur to me when staring at the images. The forms and texts are added to slowly over a number of weeks, and the creation of the four works in the series overlapped, leading to a spontaneous 'intertextuality.' In this way the works become a non-linear myth cycle, with a variety of narrative paths between the figures and objects.
In order, the work shown in the photographs is:
"Judge" (2009) rope, brass tripod, electrical socket.
"Hi-Viz" (2009) found board, highlighters, pencils, correction fluid, drawing ink.
"The Prophet and the Bees" and "Perpetual Apocalypse" (2009) , MÅLA paper, drawing ink, highlighters, pencils, markers, correction fluid, fluoro price stickers, transfer type, fire.
"Plague of Language" and "Skin, or the rubble at Babel" (2009)[materials as prev.].
"Night Map" (2009) found paper, drawing ink, GROG graffiti ink, markers, highlighters, pencils, correction fluid, fluoro price stickers, transfer type, fire, jigsaw piece.
Many thanks to Natalia Vasquez Photography for the images.
Monday
a
This sketch is from a series of pieces I made about diagrams and reading. It's around 31 x 57cm, made using a mapping pen and goose quill. During my 12keys project of 2005, I became interested in different grammars of drawing, in how - if the weighting is wrong - the object of a labeled diagram can seem to be sprouting antennæ and feelers. How swashes and flourishes need to be 'read through' to make sense of a letter.
Wednesday
undemonstrata
This is a small prototype for a series of drawings I intend to make about text, cartography and the city. The creased landscape of paper is covered with fragmented prose about the reading of a landscape. More Sinclair inspired, Situationist, psychogeographical, Joycean mumblings.
Monday
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Tuesday
The Fall of Language
This is an ink and graphite drawing on reclaimed sunbleached card. The composition was influenced, Surrealist-style, by the characteristics of the surface. Hidden within the inked swirls are the letters of the Alphabet and the Arabic numerals. The pale tower has onehundred and fourtyfour layers of assymetric bricks, hand-drawn with technical pencil.
The Overstrung Piano
This ink drawing on Fabriano paper, completed over a fortnight in Easter 2006, is around one by one and a half metres. It's a crooked, inaccurate rendition of an overstrung upright piano with the front removed. The strings, by far the most excruciatingly time-consuming aspect, are chirstmas marker and gold gel pen. Well, two gold gel pens. The drawing has annotations embedded within it, describing the functioning of certain parts of the overstrung mechanism.
Collapsed Notebooks
I keep, a little obsessively, a series of notebooks. Any scrap of apt information I come across gets jotted down, roughly in the order they're encountered. I used to use those black fake-Hemmingway style ones, but they're too expensive and the pages are too small.
I switched to these three squids brownpaper ones, which I fill with "Eye" pen and correction fluid. Here are some overlayed pages from my most recently completed one, Idris Khan style. My favourite of the collapsed pages are the crow drawings, done ambidextrously: one page one hand, facing page the other. Then done over with both hands again to complete the drawing. 
The final image is a collection of the White Pawn studies I have been doing. The Queen's Pawn.
Monday
The A Game Map
This image is a collation of my preparatory studies for The A Game. I use annotated diagrams to record and develop conceptual and spatial ideas, exploring how concepts link to one another and how these connexions can be expressed visually. (I've posted this as a very big image so the text is a little more legible, so downloading it before viewing is advised).
Early Plans for The A Game
Here are two double page spreads from my book A to B, which contain some early notes and sketches on the develoment of The A Game. The book they are taken from is an ongoing project using maps from a 1970s touring gazetteer of the british isles as the stimuli for drawing and collage.
These diagrams reference a number of starting points for the Game's development. Among those shown here are the five Chinese elements, alchemy, environmental damage and the politics of cartography, and Mammon. Mammon is the embodiment of callous avarice and fiscal corruption, an anthropomophic personification with roots in the Old Testament.
The A Game
On the occasion of my completion of the First Round of The A Game, I here begin a weblog charting its progress and vagueries. These images of the board and single pawn were taken during the Line of Thought exhibition held at Paintworks, Bristol (16/05/07...).
The board comprises sixty four separate tiles, each just shy of one foot square, on 3/4" fibreboard. Each was produced as an individual image and no two are the same, although motifs are echoed by more than one tile and there are several sets of tiles produced using similar techniques.
A list of materials and equipment:
MDF
Indian Ink
Quink
Mitsubishi "Eye" Pens
Corretion Fluid
PVA
Polyfilla
Acrylic
Acrylic-based Varnish
White Emulsion
Solvent-based Gold and Silver Inks
Gesso
Porcelain
Pastel
Graphite
Grass-stains
Salt
Wax
Iron Wire
Thread
Transfer Type
Printed Map
Blowtorch
Spot-welder
Firelighting Gel
Scalpel
Axe
The pawn was made by hand from porcelain and then fired and glazed. The Second Round of the game will involve making a full set of pieces from a variety of materials, including carved sea coal, brass and latex. I have begun my preliminary researches for the Second Round and hope to have completed the four Rooks by early 2008.
Some points of departure:
The Alphabet: The history of the Alphabet is one of abstraction and the evolution of graphic memes. Basic hieroglyphic forms which could double up as syllables in names or for use in words which had no hieroglyph were adapted by Egypt’s Semitic population for use with their own language. This altered body of signs was then eventually taken up by the Greeks, who further simplified and abstracted the images.
The original pictographic signs were worn smooth by countless hands, simplified by an endless process of Chinese whispers until they became abstract shapes. These 26 sigils were useful precisely because they are meaningless, empty signs that can be filled over and over again. With centuries of use, however, the letters of the alphabet have gained faint meaning again, not least because of the development of alphabet books for to help children memorise the letters (A is for Apple and so on).
Chess: The evolution of the abstract chess piece follows a similar course to the alphabet, travelling hundreds of miles between people who only half understood one another. The original Indian forms were themselves the result of centuries of development, a set of complex miniature sculptures rich with symbolic detail. When chess was taken up by the Arabic world, their religious prohibition of representational images meant that new pieces were made, retaining only the rough silhouettes of the Indian originals for recognition.
From the Middle East, these abstract pieces were taken all over Europe, and gradually over the following centuries marking and then full relief was added to the pieces in the tradition of Mediæval European carving. During this period, older abstract sets in precious materials remained in play, and many cheaper sets were made for use by the general public. These sets, often of ceramics or turned wood, were a mixture of abstract forms and representational elements because of the cost of carving.
The abstraction and then loss of the original representational forms was a critical development, however, because it allowed a pluralism of ideas about the form and meaning of the pieces. Across Europe, pieces were made differently. This meant that during the Renaissance, new abstract forms for the pieces could be invented. Many such forms were inspired by the wood turning process. These were combined with representational crowns for each piece to aid in identification.
Games: There is a certain kind of looking that only comes when one is deep in a game. Attention is enhanced, narrowed. Schooled to certain stimuli, the mind overlays an invisible lacework of potential correspondences onto the eye. Relentlessly, the eye attempts to bore into the surfaces of things, only to glance off them, restlessly flitting from one knot to another and back. Looking, looking. All the while feeling the threads linking the knots, feeling the tremor of a movement in the web, feeling the fine lines like a hair under the eyelid, feeling that maddening itch of something on the edge of perception.
It is as though I am playing a game of chess inside myself. I can feel the subtle power of making a move, but I have not yet found how to make a board and pieces outside myself to share the game with other people. (Sometimes a calligraphic line can mirror part of the game for the instant after I draw it.) Any object can become a pawn, any word. Each square on the board contains another board. Each move is like a song.
A different game is being played out in the world, as unlike to my game as death is to life. The A Game. In this game I am less than a pawn. Lead moves into flesh. Money changes hands.
The board comprises sixty four separate tiles, each just shy of one foot square, on 3/4" fibreboard. Each was produced as an individual image and no two are the same, although motifs are echoed by more than one tile and there are several sets of tiles produced using similar techniques.
A list of materials and equipment:MDF
Indian Ink
Quink
Mitsubishi "Eye" Pens
Corretion Fluid
PVA
Polyfilla
Acrylic
Acrylic-based Varnish
White Emulsion
Solvent-based Gold and Silver Inks
Gesso
Porcelain
Pastel
Graphite
Grass-stains
Salt
Wax
Iron Wire
Thread
Transfer Type
Printed Map
Blowtorch
Spot-welder
Firelighting Gel
Scalpel
Axe
The pawn was made by hand from porcelain and then fired and glazed. The Second Round of the game will involve making a full set of pieces from a variety of materials, including carved sea coal, brass and latex. I have begun my preliminary researches for the Second Round and hope to have completed the four Rooks by early 2008.
Some points of departure:The Alphabet: The history of the Alphabet is one of abstraction and the evolution of graphic memes. Basic hieroglyphic forms which could double up as syllables in names or for use in words which had no hieroglyph were adapted by Egypt’s Semitic population for use with their own language. This altered body of signs was then eventually taken up by the Greeks, who further simplified and abstracted the images.
The original pictographic signs were worn smooth by countless hands, simplified by an endless process of Chinese whispers until they became abstract shapes. These 26 sigils were useful precisely because they are meaningless, empty signs that can be filled over and over again. With centuries of use, however, the letters of the alphabet have gained faint meaning again, not least because of the development of alphabet books for to help children memorise the letters (A is for Apple and so on).
Chess: The evolution of the abstract chess piece follows a similar course to the alphabet, travelling hundreds of miles between people who only half understood one another. The original Indian forms were themselves the result of centuries of development, a set of complex miniature sculptures rich with symbolic detail. When chess was taken up by the Arabic world, their religious prohibition of representational images meant that new pieces were made, retaining only the rough silhouettes of the Indian originals for recognition.
From the Middle East, these abstract pieces were taken all over Europe, and gradually over the following centuries marking and then full relief was added to the pieces in the tradition of Mediæval European carving. During this period, older abstract sets in precious materials remained in play, and many cheaper sets were made for use by the general public. These sets, often of ceramics or turned wood, were a mixture of abstract forms and representational elements because of the cost of carving.
The abstraction and then loss of the original representational forms was a critical development, however, because it allowed a pluralism of ideas about the form and meaning of the pieces. Across Europe, pieces were made differently. This meant that during the Renaissance, new abstract forms for the pieces could be invented. Many such forms were inspired by the wood turning process. These were combined with representational crowns for each piece to aid in identification.
Games: There is a certain kind of looking that only comes when one is deep in a game. Attention is enhanced, narrowed. Schooled to certain stimuli, the mind overlays an invisible lacework of potential correspondences onto the eye. Relentlessly, the eye attempts to bore into the surfaces of things, only to glance off them, restlessly flitting from one knot to another and back. Looking, looking. All the while feeling the threads linking the knots, feeling the tremor of a movement in the web, feeling the fine lines like a hair under the eyelid, feeling that maddening itch of something on the edge of perception.
It is as though I am playing a game of chess inside myself. I can feel the subtle power of making a move, but I have not yet found how to make a board and pieces outside myself to share the game with other people. (Sometimes a calligraphic line can mirror part of the game for the instant after I draw it.) Any object can become a pawn, any word. Each square on the board contains another board. Each move is like a song.A different game is being played out in the world, as unlike to my game as death is to life. The A Game. In this game I am less than a pawn. Lead moves into flesh. Money changes hands.
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