Psychological Voltage

Pen and ink study

 

Following from my previous post, ideas start to form as to how the two aspects of what I am working with, the raw and the refined can coexist. The transition from the radially symmetrical, ordered Chaos Contained  to the more poietic gut forms has been a journey from the external to the internal, searching for the internal world contained within the carapace. I have oscillated between one and the other and it seems that the symbolic reifications have been and still are gestators for what I am working on now. I see the possibility of the chaotic inner world nascent from, evolving and bursting out of the idealised concept of the type form. This may be too literal an interpretation of what I am thinking but in the working with the material is where the transformation can take place.

Plato thought that our world was a mere shadow of an ideal one, our backs turned to the light and all we see is a third hand puppet show – which makes me think of the shadow videos I have previously put together. Aristotle got his hands covered in the slime of dissections and the analysis of the literal world that we see and touch each day. He looked at it straight in the eye and tried to explain it.

These drawings are the first attempts at placing markers for the ideas that are forming in my head. From them I can develop and evolve these ideas, make them less… obvious; more about the struggle between knowledge and knowing, existence and experience, than biology.

 

Pen and ink study

 

In the first visualisation, the internal bursts forth from the carapace; in the second, the metamorphosis of form from raw compost to ideal form. (It reminds me in a way of the empathic climb in Philip K. Dick’s Mercianism.) Two ways of reconciling through transformation. This is where the strength of the myth lies, in the potential to transform mud and dust to a higher state. It is an idea that holds psychological voltage. 

 

Studies for H

A chronological series of six pen and ink sketches for the H project

These are studies done not for the way the sculpture might look but to exercise in what spirit I will approach its making. I see part of this making as painting. Pen and ink is ideal for this, its fluidity and indelibility require seeing ahead a fraction of a moment before committing to the paper surface. And older than paper, its manufacture, a step away from charcoal belies its sophistication. Artists in the past have used this as a tool for analysis, for its closeness to painting: ink is liquid, applied with a brush of sorts, the unforgiving rigid point the focus of decision. The act of drawing with pen and ink is akin to delineating the boundary between the passages in a painting thereby creating a virtual line only that this line is the embodiment of something that does not actually exist. To do this needs an analysis and understanding of the line’s function in relation to what is being drawn must be done without inhibition or hesitation if the form is to come alive. In the case of sculpture, which deals with weight, pen and ink can express the lightest of touches as well as the heaviest of masses. Its calligraphy is a language inflected and nuanced by where and how the ink is placed and the freedom acquired can equally be translated into other mediums. 

Only in the penultimate sketch did I use pencil as a preliminary. Doing so disrupted the rhythm but more importantly, resulted in a drawing lacking in invention probably on account of the forms coming more from the head and less from a more visceral centre. Below is the initial sketch in biro I made a few days earlier featured in my previous post.

 

 

Oracle Respoken: Large Scale Maquette

 

I have started a new maquette for ‘Oracle’. This is the stage where I start to confront the technical problems of material, making and installation.

‘Forgetting’ the former maquettes I started with a thumbnail sketch of a possible installation that incorporated some of the former arrangements…

..this moved on to a pen and ink rendering which came closer to a 3-dimensional representation of the eventual ceramic piece.

The pieces are maleable and fragile while the clay is wet. When fired they will be fixed in their final form. One of the challenges is maintaining the fluid, organic nature of the forms as they dry and harden; how to relate one piece to the others while the clay is wet and translating this to the fired forms. 

The forms leave their traces as I move them creating a drawn presence, a graphic imprint of their passing.

How they relate to words spoken is the challenge. And I must also make a support frame. 

The maquette is approximately 1:3 with the final piece standing around 2.4 metres not including support framework.

As It Was, So It Is: a failure to learn from

 

 

This experiment on video follows from a previous trial video. I was interested to explore further the idea of lineage lost in time and distance by loss of resolution. I also wanted to increase the distance of travel of the line and so used chalk and large blackboard surfaces. I consider this video to be a failure and a success.

It is a failure because the form does not really say anything of itself. Wanting to see what would happen when using chalk on blackboard as a way of using a larger surface and reversing tonalities, the sense of line is lost by virtue of the thickness of line and therefore its loss of sharpness and resolution with distance. In addition, the lack of aesthetic consideration with this doodle also led to a meaningless design which does, however, contain some useful information encoded in its making. 

But what does this experiment tell me? 

The action encodes ideas that extend the first trial video and suggests further work. It also synthesises ideas I have talked about previously, notions of repeating patterns through time and how it is difficult to discern the nature of the reiterations.

The line itself become irrelevant as a device for demonstrating the loss of clarity with distance. However, it does connect the far with the near. The pattern drawn near the camera is arbitrary (and therein lies one of the problems with the experiment, lack of meaningful content). But it is largely discernible even though most is out of focus. It is like looking at the near past. When the distal pattern is drawn, I can only see the broad movements similar to the proximal drawing but the details of the pattern remain undisclosed and the broad nature of the pattern is a matter of inference. Lines connect the distal with the proximal, this is mere metaphor. 

When the whole design is seen at the end of the video, the sense of repeating patterns becomes evident. The distal pattern is a simple version of the proximal one. This is a metaphor for looking for patterns over time. There are clear correspondences in the forces that shape one period and another. Only that the further back in time one goes, the less certain one can be of the shape of things and what is putatively known can only be partially inferred from evidence. However, such evidence and inferences lead one to believe that things in the past bear a close relationship to the present. Perhaps not so complicatedly, as in the drawing. 

This exercise is a metaphorical, or analogous, demonstration. I do not consider it as an artwork but rather a thought experiment documented.

What to do next? I will return to the Rotring pen line which is less expressive, more precise and therefore able to convey more accurately and dispassionately that which I wish to imply. That resolution of form is lost with distance and time. The technical remedy to the extension of the line into the distance can be achieved using larger paper. Making these changes I think will raise the aesthetic element sufficiently to make a passably interesting film. In short, it needs more curation. 

I am also thinking of doing something similar with text, words change over time, meanings alter making hermeneutic methodology difficult to manage. The same could be done with symbols and pictograms. This is not taking me away from my major work but rather creating a conceptual underpinning and contributing to ideas for the Oracle, Shrine and Mythopoeia.

In summary, I feel that the conceptual framework needs to be supported by an affecting aesthetic work. To work purely conceptually may be interesting, fascinating and absorbing in its own right but it does leave me with a sense of depression and sterility as creative work. A work made purely from the head with no heart or guts leaves me feeling incomplete and dissatisfied. That is because the vehicle conveying the idea is not felt but only thought and after all, the artist that I am, I cannot work purely from the head. But such an experiment does lead me to finding new contributions to a conceptual framework without necessarily considering aesthetics, that can be absorbed into my practice. 


Today’s Skype chat and discussion of Lev Manovich’s essay was a timely event in view of the ideas I have been working on lately offering a way of placing them in the contemporary environment. 

Learning New Things

 

I have never done something like this before. I am finding it a challenge but not because I lack the skills of drawing, composing, digital or manual. It is more a case of sequencing and seeing how  detail fits with the overall. This might appear to me a matter of applying what I do in other domains to this, the graphic narrative or comic. However, the applicable principles are to be used in a completely different context; one in which the single image does not stand alone but is seen as part of a much larger narrative in images. In addition, the attention of the viewer has to be maintained throughout the process of sequential page turning: rhythm, sequencing (how one images corresponds to subsequent images), pacing of the script and consistency of vision are all part of the process. In short, it is about working with a carefully crafted script. Something I am going to have to do when working on the multiple screen video performance. So this is a way of introducing that process. 

Probably the way for me to break down what I have done is to look at the first page and see how the problems presented have necessitated shifts in how I view the overall work. The interesting part of the process is how the initial vision, feeling, has had to be changed in order to convey a more compelling narrative through visual means. 

I was fixated with a particular ‘look’, a simplicity that quite frankly was getting somewhat boring. I tried to reduce detail to focus on the narrative but found that this had the opposite effect. It is the detail surrounding the central character that conveys the story, after all, there is only so much that can be done with a single creature in a barren landscape. So what I have done is spend a while looking at the great many solutions that others have used for both comics and graphic novels. This has helped me in seeing how I could do something more affective.

So what have I done? The following is a list of the changes that I have sketched out in my mind and tried out, not shown above:

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    • Change the geographical transitions to convey a sense of the psychological journey of the creature. I had maintained this constant with the result of convey nothing more than repetitive monotony. Although this was the initial intention, it did not seem to hold the attention or even convey the meaning I was hoping to impart. I worked with process but there came a point where an intervention to change direction was needed to increase the affectiveness of what I was doing.

 

    • Introduced minor characters which heighten the creature’s isolation much as a lost person would feel in a forest full of unfamiliar animals and plants. This also personalises the character with the viewer creating a conversation between parties. This is a more intuitive direction, after all, most people’s experience is not that of living alone on the Moon or Mars. 

 

    • Not repeating stances and views, keeping the pace of the storyline going while relating each vignette to the others. This can be done using colour, line, composition and tone as well as the particular characterisation of a given scene. The direction of sight needs to move in a sequential narrative and lines of tension, repetition, reflection and so on, are all devices that can be used to achieve this visual journey.

 

    • Most importantly, elaborate the script so it includes details that help create interest in and engagement with the character and its story. The script, to my surprise, is perhaps the most important thing. It does not have to be about speech, it is also description of the scene, emotions, details, incidental action, time, season, terrain. All these are important to compose in an abstract sense so that the drawing phase is not always starting from the beginning when an impasse is encountered.

 

    • Work with what I am familiar. This is important in creating a believable situation and characterisation. It is much easier to work with elements of which I have experience rather than trying to set events in locations that I cannot relate to. For this reason I have chosen the Venezuelan savanna, land of tebuys and Conan Doyle’s Lost World. An appropriate setting for the story that unfolds. 

     
    But what is this narrative about? I have been thinking if it was about loneliness, or perhaps the dark side of companionship; about a search or about the indomitable spirit of survival. In the light of what I have been exploring in the past few day there is something else, the emergence of predation, not in the sense of a literal figuration of the strategy filling an ecological niche. It is more of a metaphorical account. If examined carefully, again it is not so much about predation but competition, territoriality or even status. There are multiple inferences in the storyline, that is the point of it, ambiguity, and the ambivalence of what is loneliness and what is solitude. 

    There are also technical elements which are can be worked out in the process. One thing I have found though, although I have spent some time on the project, I am amazed at how little work I have actually done. I can see that I need to do much more ground work. But now I am clearer as to what is needed, I can move on at a more productive and energised pace. What relation does this have to the main project proposal? Everything is still up in the air but there is a strong correspondence with other elements I am working with, metamorphosis, culture and the deep past as a counterpart to the contemporary. 

     

Start of a Graphic Narrative

 

I have  been working on ideas arising from drawings I did earlier in the first term. I did not know where they were necessarily going but that is the nature of artistic experiments. However, it is not a case of not knowing what I am doing but rather allowing what I do to take me somewhere new in the spirit of experimentation.

Over the past days I have learnt a great deal about comics, their layouts and techniques which are helpful in creating narratives concerning my work and ideas. It is an interesting way to work; with hand drawing, computer graphics and photography. What I have in mind is a set of accessible works that sit alongside my mainstream pieces.

I decided to start with a principle character working it out through drawing. I used the seeds sown in a series of pages of sketches drawn earlier, particularly Drawing 4…. The  creature above is by no means definitive in morphology but it bears the fundamental elements of its making. Around this creature, I am writing a number of scripts in order to build an narrative structure for sequencing images. As I started this project I was also experimenting with the camera on my reflective walks. The context of these wanders over the same territory has become an important element in what I do, a setting for the imaginary world of the works and their interactions: perhaps the stage I mentioned in the symposium video at the beginning of term. 

Working this way has opened out many ways for the unification and expansion of my practice. I still have a long way to go as I work in parallel with other projects but it is rapidly becoming part of a scenario for originary things, a mythopoeitic process.

Chat Session 1.9 – Artist’s Talk

 

The last Skype chat for our group this term was with Vic Von Posser who graduated from the course this year. Her work developed over the two years moved in a very personal direction. What I found interesting was her use of simple materials and a straightforward methodology in which each piece was an extension of preceding works. I found a resonance with the idea that she saw her work as performance and that each iteration created a ritual.

I find interesting the relationship between ritual and reiteration: as I see it, work can be an embodiment of ritual whether it be in the form of documentation, performance or a physical object. I have spoken a bit about this in my post on The Ritual of Walking. The idea of reification is very much at the core of what I do and goes some way to explain why I am interested in sacred art. But reification is not confined to the religious sphere, it is in fact part of everyday life, from souvenirs and mementoes to branding.

We also took part in an exercise in blind drawing. This is something I have done for many years and have used it for students to help them loosen up and observe rather than work to conceptual models. It is also fun, the results are always surprising and surprisingly interesting. I guess the freedom of not looking at the drawing, even for one instance both concentrates the mind and frees it from convention.

 

Chat Session 1.8: Elusive Taxonomies 2

This post was finished over a week after the session.

Last week the discussion ranged over the classification and categorisation of art practices with particular reference to digital means. This week the discussion extended to the relationship between the digital and the non-digital and how the perceived gap might affect practitioners and how they approach their work. One of the main points of discussion was whether working in the digital environment was any different to what could be called more physical ways of working. 

An idea brought up by Jonathan, citing G. Fifield, was a ‘friction-less and gravity-free’ space with respect to digital tools such as Photoshop. The reference comes from the 1990s and things have moved on almost unrecognisably. However, the notion of friction is interesting being as it is, a physical one but it could also indicate an abstract, conceptual form of resistance. In fact, I have worked extensively with the mouse as a tool for drawing. I have chosen this way of working when making digital drawings, eschewing the tablet and stylus for the very reason that the notion of friction articulates very well. What do I mean by this ?

I feel that the computer seduces us with its perfect lines and even surfaces and gradients. The vision of perfection it offers is not only commonplace now but relatively easy to achieve, offering little resistance with a modicum of skills. However, there is a caveat to this that Jonathan proposed later: that the aesthetic outcome is very much dictated by the parameters set by the software used whether it be by Adobe or any other company. The digital imposes a style or aesthetic that is hard to release oneself from.

Drawing with the mouse has a resistance to the perfect line and form because of the way it works: not being under one’s total control, it can be a little temperamental. This creates a physical and ‘virtual’ friction or resistance to the process both on the surface on which the mouse moves and the screen. A space is formed by the tension between perfection and imperfection. Here the imagination can dwell with contingent outcomes: the endeavour towards perfection by imperfect means is often delicious. 

Another area of discussion was that of aura, with Walter Benjamin’s 1936 essay, The Work of Art in the Age of Mechanical Reproduction. This is a very wide field of discussion that has personal, psychological, religious and political implications. Jonathan proposes that Benjamin is a starting point from issues of reproduction towards new forms of production and there is a debate about notions of ‘real’ and ‘virtual’, ‘simulation’ moving towards ‘substitution’. This is in fact a form of sublation and something I am working on with regard to a video and live performance work requiring very careful scripting and timing. This opened the debate on simulation and the nature of what is real and what is not. I think the idea of authentic comes into this as does original. These are perhaps best described as notions, as most qualitative descriptors are. Any definition is vulnerable to the deformation by subjective view points and conversely any rigidity too readily turns into dogma. I think the best thing is to remain open to change but be clear about what is changing. 

We ended the session by considering some further terms that are useful when describing how a work comes about. Words that come from a variety of sources, from semiotic theory to acoustics, from physics and chemistry to sociology, words such as: filtering, curating, signalling, amplifying, merging. Being all gerunds, they denote action whereas others such as hybrid, score, script and remix are adjectival. Grammar is a wonderful thing, how a word can be transformed from doing to being to inferring. I could describe my work as a hybridisation in which ideas are scripted and encoded as a means of signalling amplified filters of perception. This sounds grand but without content meaningless. They can only help to articulate what is already there to express. The two go hand in hand. Thinking of what one has to say and how to say it are inseparable when using words; the same goes for any other medium.

Coming back to something I mentioned earlier, the final word by Jonathan was regarding the digital: that artists appear to be well placed to do some of the work in ‘revealing the ideology baked into code’, (whether financial, aesthetic, social, etc). 

Oracle: Maquette 3 – End of a Phase

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

 

When evolving an idea, there comes a time for leaving the process to the subconscious; to open it out to other influences and make new connections: this takes time. I remember when taking my physics A level at school, the best strategy for solving a particularly difficult problem was to read what was needed, identify the equations and methodology, understand the variables, try a few things out and then sleep on it. Perhaps the next day or a little later, the solution would present itself as though the most natural of outcomes. I am not saying that solving a physics question is comparable to producing a work of art. I only mention this because the mind continues working in the most wonderful ways while we are distracted elsewhere. By going to sleep on a problem, we dream and see things from different perspectives in different contexts. This enables solutions to arise that would otherwise be constrained by fixed thinking. My attention is now turning to sound, relics, shadows and other things. I leave this particular part of the project in a place where, of its own account, it can respond to different ideas and methodologies and await a refreshed return.  

 

 

Oracle: photos of maquette 2

 

Taken after I had completed the drawing. There are well over one hundred images and I have chosen nine, not for their aesthetic, formal content but for their ability to convey information and ideas that take me beyond considerations of the sculpture alone.

 

 

Oracle: Maquette 2

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

Not everything has to have a reason. As I work, an internal dialogue continually debates, interrogates, plays the devil’s advocate: what is this for, is this more effective, where will you go from here? At times I need to cover my ears from these voices that stop me from travelling to, I do not know where. The place does not matter in the doing, but here lies the rub, how do I mark the path by which I have sleep-walked to this clearing in the fog of work? Experience follows me on the trail to a new place, it is she that leaves the marks on the walls of the maze I have wandered into. The journey made familiar, I can follow my way back without minding the why. I need to find my way back, because I cannot stay where I am and sometime I might want to return.

Not everything has to have a reason. Only on the return journey might I encounter the why of something I did. Moments after, or years, unencumbered by thoughts of purpose, ideas that once were awkward come together and show me a different place, the significance of peculiar details. Details in a myth built from once cloven thoughts rejoined. These maquettes are such confections, wrought to be returned to dust, their image grasped with camera and pencil as they dry and crack and crumble before me, they become the memory that builds the life of the idea. Accreting to one another their weight is felt inside me, and the work is done under their gravity, reflection having been done so that feeling and understanding cause the motion and my mind moves to the next place I do not know where or for what reason.

 

Oracle: Maquette 1

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

Today I made the first maquette for the work I am currently calling Oracle.  It is a continuation of the sketches in Drawings 1 and Drawings 2 in unfired clay and metal wires. Although the final intention is quite the reverse, I am thinking about how language is digested and deconstructed through the alimentary canal of human behaviour. Starting as incoherent noises a comprehensible message emerges at the other end. The Oracles of ancient Greece and Rome worked on this principle and functioned as political spin, from the personal and local to the national and imperial, ambivalence and ambiguity almost always the mode of interpretation. Has it ever been any different for those in power, regarding today’s politics? Is this not what religions do when interpreting the numinous in a bid to acquire and keep hold of power? Take an unexplained phenomenon and make of it what you will.

However, as I mentioned at the start, this work is intended to reverse the process: converting a comprehensible message into an incomprehensible babble in real time. Words are deconstructed as in a form of Chinese whispers from the initial utterance to a final noise. Along the way different iterations of this deconstruction are audible adding to the confusion… all in real time. Is this not what happens to what is said as it passes down and away from its source? This is at the heart of the process of collective assimilation of individual attempts to communicate. 

The maquette is already cracking and breaking up. It disintegrates as do so many thoughts that need be transcribed into a more durable form for retrospection and reflection. This disintegration is part of the cycle of things… I envisage the sculpture being held up by iron rods and suspended from above with iron wires. I can use other materials as I look into different configurations while I research the sonic component. But the things is to always start with what is at hand: plaster, air drying clay, paper mache, metal, stone are all considerations. Eventually I shall make a more permanent scale model to resolve difficulties in making and installation; I am sure that new ideas and solutions will meet me along the way. And as I work on this I will consider it holistically with the other works in mind. Language, myth, ritual, group, self, absence, disintegration, unification, permanence, transience…

As the maquette disintegrates, its container is made: the rests of an idea.

 

click on thumbnails to enlarge

Drawing 5: Ennoia

Studies: graphite on paper, 316 x 237 mm

I am drawing as a way of originating an idea. The word idea has its roots in the Greek Ennoia which literally means “act of thinking” as well as “form” and “the look of a thing”. Related to this is idein, Ancient Greek for “seeing in a creative manner”. How fitting it is that a drawing should be a creative way of seeing an idea: a visible manifestation of thinking. This is such a powerful tool for origination.

Images and words are starting to merge; not as equivalents but as different expressions of an emerging idea. My use of words follows drawing, as reflection on the act follows reflection in the action. This process is leading to ideas related to what I said at the start, that I see my practice as a stage on which a play of sorts is enacted. 

The narrative I alluded to in a previous post, started to emerge in drawing 4 and these sketches have crystallised this a little more, particularly in the context of drawing 3. I do not want to say too much at this stage; to keep the revealing in motion and not cut the process prematurely. The creature stands as I, on the threshold of something broad and unknown. Through this metaphor I have seen a glimpse of a transformative process leading to a collection of existential works. It is the origination of a personal mythology. 

 

Impetus

 

The worn graphite pencil glides to and fro searching form, trying to enter the flat surface bounded by the small parcel of paper. Changing faces, it deftly leaves a trace that grows careful not to mark the paper indelibly with a false word. Thought is suspended in the uncertainty of emergence, I keep quiet and let the form tell me what to do. I am in its embrace, as the pewter carbon slates off the point until, it asks me, what shall I do next? We are now partners in shaping this tiny world. For now it must be all the world, no distraction except for breath. Time does not count in this place, movement reckons change: too much and life is extinguished, too little and we are left wondering what if. Imperfections must be left behind; corrections will unravel all that has been done as lines coalesce into form, light and shade becoming sensible with words of recognition. And so the meaning passes onto me as I hear the other’s voice grow faint in this world. My hope is that it waits for me in the next.

Drawing 4: Some Sort of Story Starts to Emerge

Studies: graphite on paper, 237 x 316 mm

 

Today has been the darkest day of the season; rain and cloud but it is not cold. Does the weather influence work? It may do but what it most certainly does is influence mood and interpretation. If interpretation is part of the work, particularly in-action reflection, then the weather must in some way influence the work.

These sketches unlike the previous ones are more of a sequence than a series. It appears to me that one sketch led to another and that by the time I had reached the final vignettes a narrative had started to emerge. I really was not trying to create a narrative but it seems to have come about spontaneously. Is this because subconsciously I look for a narrative or is it that having completed the previous series of drawings, I am becoming more fluent and synthetic? Is it that I am linking the images despite myself?

I was not aware of any particular theme at the outset but during the course of the sketches, a familiar notion has started to show its face. 

Leaving Breadcrumbs and Getting Lost in the Process, Outcome and Acceptance

I am constantly leaving breadcrumbs as I wander through the forest.

The process of this MA is very much about that, process. I am willing to get lost in it as I search for a path towards finding new things and ways. I am consciously entering unchartered domains despite my having established a practice over the years. I feel to not have done so would have been complacent of me. Instead, I have elected to relearn. The drawings are emblematic of this, the way I feel about doing them is an acceptance of being in the process and allowing myself to get lost. It is also a return to origins, to what I did first. However, the point is that each time I explore and find new things I am in danger of getting lost to such an extent that to find my way out again might prove costly in terms of my relationship with my work. What I am in fact doing is looking to create small outcomes along the way, as in Post Truth Hurtling, and the drawings. These are sign posts I am planting as I map unknown territories. Each marker keeps me located and the path taken made retraceable. That is one purpose for keeping a journal. To keep everything in the head is not good for my own sanity: the exploration may be conceptual in nature but the outcome is the concrete ballast that keeps me from capsizing against the storm of ideas that I face. 

Drawing Studies 3

Studies: graphite on paper, 237 x 316 mm

These rough sketches are a change of stance from the previous drawings, approaching the idea called for now ‘Oracle’. Exploring the inside and out of an imaginary prototype, I inhabit the space. This is not an aesthetic exercise in drawing, neither is it a testing ground for the work. It is more of an immersion into the idea, to understand where its physical form comes from. It lives in a landscape but is trapped in the context in which it is found: should be in a desert but it must sit in a room, an exhibit collected and appropriated from the imagination and displayed… for now. It is small yet pyramid-like in conception, is it to be simple or ornate? Is it a temple or a receptacle for sound; the Holy of Holies or a profane Pandora’s box; a landscape contained in the sounds that enters it, sounds processed and altered as a message must be arranged and packaged for its destination


It is now evening and having thought about the work’s geographical limitation, the idea has come to me that, although contained and relatively small, the sculpture can contain the world. Instead of the microphones collecting the sound being located within the same space, they could transmit from anywhere that they might be placed. The sculpture is then no longer limited to its location but it can encompass the world… or at least a greater part of it than before. 

Drawing Studies 2: The Simplicity

Studies: graphite on paper, 237 x 316 mm

Today I drew another set of studies.  It really is an exploratory activity and a reacquaintance with drawing. The images do not conform to the ideas I have for project work but I am glad for that. Breaking away from the constraint of a predetermined outcome fills me with a sense of freedom and renewal; what I talked about in my first post, Elastic Thinking, Synthesis and Renewal. It is in the true spirit of the MA. From these studies something may come but come what may, the thing itself seems to be what matters. The action, the thought, what it might lead to, give me the same feeling I had when I first started years ago. This happens from time to time but for it to happen now is wonderful. 

As I draw I think. I think about what I am doing and how it can be done better. I am learning rapidly as it comes back to me compounded by what I have learnt and experienced along the way. These small sketches represent much more than what they are in themselves. 

As part of my brain focuses on the technical activity, another part nudges me into feeling my way, sensing the concept and translating it into a language expressed in pressure, sense of space, distance and closeness, weight, light, volume. These are all empirical technical aspects. There is also another part of my brain that is released and wanders and thinks of other things. Reflection on the doing and reflection on the reflection. 

I like the way that all this is achievable with the simplest of tools. A block of toothy paper and two graphite pencils. Is this not the simplicity with which artist worked before? From Lascaux to Phidias, Michelangelo to Ingres, Picasso to Moore. The most exquisite work was done with simple tools and materials. How does this compare with digital media? Is the digital another freedom or is it a self imposed exile into consumerism? I have drawn with digital media and found it a rewarding exercise but more for the outcome than process. The smooth layers, the faultless line, edges that leave no ambiguity. It is indeed very seductive and aesthetic. I have rationalised it and it appears valid. But I ask myself, have we become so accustomed to perfection that we are in danger of losing sight of what human creativity is and where it comes from? Is the machine to be the paradigm by which we measure and are measured and origins lost in time and made irrelevant? So many questions come to mind offering contradictory views it is overwhelming. For now I shall continue building this small, simple, limitless world and see what happens.

 

Drawing Study 1: A Friend Revisited


Studies: graphite on paper, 237 x 316 mm

Yesterday I began drawing once again; I have not done so for its own sake for what seems a very long time. The pencil is so incisive and yet so gentle, like no other medium. Graphite slides off the point in response to my decisiveness, tentativeness, hesitation and insistence. It does not lie, it is an analytical instrument that exposes thoughts and my ability to portray them. Its limits are my own. Its freedom is my own. It veils and discloses, it explicates and it confounds. 

I shall draw continuously as a means of asking questions and finding answers. These preliminary sketches are the start of an exploration intended to bring forth ideas for some of the works I have in mind. Particularly what I call for now, Oracle and Sculpture Waiting for Meaning. But the story does not end there. Drawing opens up a world of meaning that is not there in writing. Both writing and drawing are means of externalising thoughts and feelings; they inhabit different realms limited by their own modes of expression and powers to imply. By drawing I recognise my own limitations and constraints which heightens a sense and understanding of freedom.