Thursday, November 24, 2011

TRACEY - Drawing Research.

A selection of questions from the Tracey Journal with my answers:

How is drawing as an experimental approach and attitude distinct from drawing as an outcome and discipline?
Drawing as an experimental approach and attitude is something I have begun to explore in depth recently. Allowing mark making and chance to dictate the pace and feeling in my drawing makes for interesting outcomes. By fully following through and committing to chance my drawing has advanced and become a vehicle for ideas. 
Drawing for an outcome or as a discipline becomes problematic when trying to work with the notion of chance. Having a pre-formed idea about a final outcome prohibits experimentation. 

In what way is it used as an analytic tool?
Drawing is an analytic tool in that it allows me to make a clear 'map' of the fabrics I am projecting through. I am able to criticise structures and make decisions regarding mark making. 

What is interesting or unusual about your own working processes?
What is unusual about my working processes is that my main specialism (knit) has now become a thinking tool and research process. In this I am now able to create pieces that 'speak' as loudly as I had hoped was possible in knitted samples. An interesting point is that knitting doesn't lead directly to drawing and mark making. 

Monday, November 21, 2011

Elijah Walton

Elijah Walton, 1867, Monte Marmorolo, Italy.

This painting stood out for me on a recent trip to Birmingham Art gallery and Museum, firstly the sheer scale of the painting (2270mm high x 3220mm wide) is striking. Secondly, the mountains and the lake compared to the people in the boat gives an impression of just how large the subject matter is. Painting on this scale always intrigues me, was it painted on location? Was it drawn in mapped out squares or freehand?

Image available at <>


After the flood

These images are a selection from one of the most moving books I have ever come across. They are all taken by photographer Robert Polidori, once most of the water had subsided following hurricane Katrina.

Images featured in the book After the flood:
Rosenheim, J. (2006) After the flood. London: Steidl

Wednesday, November 16, 2011

Stefan Emmelmann

Movement, 2008

Frank Pudney

People,  2011
Pencil on gesso board
127 cm x 82 cm
Pudney's artists statement sums up in a concise and eloquent way something I have been trying to convey myself.  His use of the words and phrases 'witness', 'force greater than ourselves' and 'appreciate our insignificance' are key concepts which I'm currently exploring, but responding to in a different way.

"People is the first of a growing sequence of drawings and paintings depicting crowds in a
moment of shared experience. Witnessing an event or force greater than ourselves, we are open
to appreciate our insignificance, despite our great and ever increasing number. Showing both
the comfort and safety felt in unity the image also suggests our alienation from one another, our
vulnerability and singularity.
The viewer is invited to become ‘lost’ in the texture and pattern of the image, despite the human
subject matter, challenging how we are able to view ourselves: as one, or as many"

Available at: <> [Accessed 16/11/2011]

Mark Lawrence

Untitled 1, 2010
Ink on discarded etching newsprint
62 cm x 46.5 cm
Mark Lawrence works with chance, he found this piece of discarded etching newsprint in the studio and responded to the marks already made on it. This enables him to complete works which would have been unlikely if left to his own devices.

Featured in the Jerwood Drawing Prize 2011

Available at: <> [Accessed 16/11/2011]

Jessica Killeen & Sam Taylor

Jessica Killeen & Samuel Taylor, 'Interventional Drawing' (Graphite and Wax), 2011

Part of the Jerwood Drawing Prize 2011, Killeen and Taylor explore what it is to make a collaborative drawing.

This type of drawing appeals to me in that they influence what the other draws, by moving or staying in one position. This effects what the other person can mark as the space between them.

Available at: <> [Accessed 16/11/2011]

Andrew Vass

Andrew Vass taught the drawing module at college when I studied for a BTEC in Art and design. The way in which he makes marks is fascinating and they seem to have no obvious origin.

 just like that, 2011, charcoal, 57 x 75cm
Available at: <> [Accessed 16/11/2011]

Friday, November 11, 2011

Ingrid Calame

Ingrid Calame: L.A. River at Clearwater Street, 2006–8
Ingrid Calame: L.A. River at Clearwater Street, 2006–8 (detail)
This tracing of the L.A. River was translated directly onto the Fruitmarket Gallery wall using the 'pouncing' technique. The original tracing was traced onto what Calame called 'butchers paper' and holes were pricked through, coloured pounce was pushed through the holes and the paper removed. Working in this way has left a ghost of the original and the scale is considerable.

Sunday, November 06, 2011

Elana Herzog

Untitled 2, 2001
Cotton chenille bedspread, metal staples, drywall, plywood
91.5 x 84 inches
Elana Herzog uses thousands of staples to secure fabrics to gallery walls, to then tear the fabric away. Chance is a huge factor here as there is no indication which parts of the fabric will give way or hang on.

Herzog, E. (2010) Available at: [Accessed 5th November 2011]