Connections – a concertina book

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Time to reflect, absorb, think – this is a key ingredient in developing ideas. The drawings that I have been working on over the last few months based on blots made from Liquid Pencil are moving into the next stage of development. From the beginning I had an instinct that they wouldn’t feel finished as framed artworks. I have framed one and realise that it is something that should be examined closely, if looked at from across a room it says nothing at all, the delicacy of marks are lost.

The artwork demands an intimacy that largeness of scale cannot provide, so I decided to take elements of the drawings to concentrate on. First I started with the drawing I called ‘Blot Series No 4’, see here for details. I made a 10 x 10 cm mask to choose elements from the drawing that had an integrity of their own. I found 5 pieces, cut them out and, once I had chosen the arrangement and rotation of them, glued them lightly to a length of heavy watercolour paper which I had folded into a concertina. The next step was extrapolating some of the marks at the edges of each piece, extending and developing them across the support to link the individual pieces. I may extend this piece with more panels.

The concertina is 14 cm high and 70 cm long, each panel being 14 x 14 cm.

connections07webconnections08webconnections09web

 

Back to basics

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Every now and then it’s good to remind yourself about the basics of what you do – about 10 days ago I attended a one-day drawing workshop. The teacher had set up a series of still-life objects along a long table, and gave us various techniques for getting the form, using charcoal, graphite, ink in various degrees of dilution, water-soluble pastels, regular pastels. The techniques weren’t new to me, I have used them many times before, but haven’t used them for quite some time, and this was a good brain refresher. It was about being quite loose, building the forms and working back into them. For most of the morning I couldn’t find my pace and felt fairly lost, but once I gave up trying too hard and just let go, interesting marks emerged.

A large bust of Julius Caesar was the catalyst for me getting into it – by the fourth drawing I had regained my confidence and enthusiasm to do more. I wasn’t looking to get a good likeness, just interesting marks. I’ve realised it takes me a while to settle into a new way of working – when I have done workshops in the past, it’s been only right at the end that I get going, and have the ‘Ah-ha’ moment, so I probably need to do more and really get myself moving more quickly.

Below are four of the drawings I did of the bust, in chronological order. I find it interesting to see how they became less tentative.

This Friday I decided to continue working with these techniques, but using better paper, and have come out with work I find interesting. I’m not sure how much more of this kind of work I will do – in some ways it feels quite foreign, but in others very exciting. Maybe I need to persist a bit more!

Collaboration book 4 – No fear of flying

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This is the fourth book in the series – today this one will head down to Melbourne, another will come back to me from Canberra this week, one came from Melbourne and will go to Canberra today. The fourth one is still in the US, having gone from Minnesota to Colorado. A new development is already underway with four of us – two from Australia, two from the US – each making a book which will then be passed from one to another to work a pair of pages.

From a small idea a wonderful and enriching joint project has developed. The mystery of what each artist will do enhances each step – I am loving the experience more than I can say. As soon as the first one is completed, I will do a post about it.

The idea for the imagery in this one came from when I was making my really tiny book (see here). I was doing little drawings inspired by the objects on my desk and around me, and one came from the small wooden mannequin which stands in front of me, and made me want to use it further. I often play with it, putting it into different poses, seeing how far I can manipulate it before it falls over. When I had done the initial drawing I could see it was flying, in a relaxed and uncontrolled way, so gave it clouds to add to its enjoyment of its journey, and brought in the legs of a companion. It has no fear of flying … memories of the 1970s book Fear of Flying by Erica Jong maybe were lurking around too.

Below are the bits of drawing I have placed on the first and last pages. Karen and Kylie, my collaborators will add to these.

Collab4_Flying2_1web Collab4_Flying2_2web

To see other parts of the collaborations see my posts here, here and here, and Karen’s (Occasional Artist) here, Kylie Fogarty here and Cathe (Amaryllis Log) here. Such inspiring people to work with!

Encaustic orchid

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More experimenting with encaustic – this painting has been in the works for a while, and has been subjected to other experimentation.

It is on board, and after preparing the board with gesso I did a loose drawing on it inspired by an enlarged photo I took of tiny Western Australian native orchids, in their natural habitat. Next, I took to the board with my Dremel (an electric tool that has small interchangeable heads for engraving, drilling and making other marks). I carved out some of the pencil lines and some texture, such as in the centre of the flower. As the board is quite hard, it was not easy to control the resultant marks so they became fairly random and not particularly smooth. The next step was applying some oil paint, before adding encaustic wax, then more scraping back, scratching and layering paint and wax.

I’m still not sure if it is finished – it has quite a rough quality to it and I think it will take time for me to decide how I feel about it. It belongs with the other paintings in the 30 x 30 cm series (see here, here, here and here).

Oil and encaustic on mdf board, 30 x 30 cm

Collaboration – next step

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The collaboration I tentatively suggested is under way! In response to my post about the Moleskine booklet I had three responses from artists keen to be involved. The first booklet (see here) has gone to Kylie Fogarty, an artist in Canberra, see here for her website, and the booklet above has gone to Karen Bailey in Melbourne. Karen has been busy with an exhibition (see here on Karen’s blog about it) but will now be ready to add some pages. Karen’s will then go to Kylie and vice versa, and we will all collaborate on the first and last pages. There will be a third one in this set, yet to come.

The fourth one which I am still working on will go to Cathe (see here for her beautiful blog, Amaryllis Log) in Minnesota in the US and we will do this one between the two of us.

I am so looking forward to what happens with each of these books – the three artists are all very different and all very good, I respect and am inspired by what they each do, but the intention of these books is not to create great art but to experiment and have fun. For each booklet there will be a loose theme, in that each artist will use what the previous artist has done to inspire their page, whether by the mark making or subject matter or other more abstract concepts.

The image above is identifiably inspired by seaweed, and the one for Cathe will have a similar marine/natural history basis. This one is drawn with pen and water-based ink, some of the lines have been made to bleed with a wet paintbrush, then colour added with coloured pencil.

Here’s to some surprises!

Moleskine booklet

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Some time ago I found some small Moleskine booklets in a remainder shop – they have eight pages within a light card cover, which has flaps that can be folded over to make an envelope. They are designed to be then posted. I liked the idea, but as with so many things, I put the booklets away and forgot about them.

When I got them out again, an idea I had was that they could be used as a collaborative project, I would do a couple of pages then post it to another artist who would do a couple more, then back again. But who keeps the booklet in the end? Maybe the answer is have two. If there is someone who would like to collaborate, let me know – the work does not have to be like mine, in fact it is better if it is different. Each spread can inspire the next. I can start another that will be different and we can work on both.

The imagery in this one is from blots of Liquid Pencil that I often use as a start. It is then drawn into with pencils, pen and coloured pencil, with no real plan, but marks are suggested by the form of the blots. I have called this one Spiderweb, as the gauzy connectors between areas remind me of fine webs.

Moleskine booklet, each spread is 22 x 17 cm (8 ¾” x 6 ¾”)

Late summer

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It may seem strange to be writing a post about late summer when we in the southern hemisphere are heading towards the beginning of summer, but the ideas inspired by seasons are continuing, as you will see if you look at the last few posts I have done.

This drawing is inspired by an agapanthus head which is at that late summer withering-up stage, the flowers gone over and the strong blue faded. This is the stage I find so entrancing with plants – the shapes that develop as the life ebbs away, they twist and turn and take on new forms.

The initial drawing was done with watered-down liquid pencil, with a brush, just loosely mapping in the basic shapes. Then I drew into the forms with pencil, intensifying detail and tone. A little colour was added with Prismacolour pencils. The support is Yupo, a strange, plasticised surface, which allows the watery liquid pencil to pool and crystallise where it is put on more thickly, as it cannot be absorbed into the surface. The coloured pencil slides on the surface, meaning it is impossible to add intense colour.

The drawing is larger than life at 43 cm wide and 29 cm deep. It may be finished, I’m not sure. Really, I like the details best – maybe I will use these as inspiration for further drawings. Following are three detail images.

Agapanthus_detail1web Agapanthus_detail2web Agapanthus_detail3web