Wind drawings I, II & III on Onion Skin paper, Cuckmere Valley 15/6/16
New development – instead of placing paper onto found readymade surfaces, such as wall’s, floors, table tops, etc I have begun a set of drawings in which I place the paper onto computational designed laser cut constructions. These seem to be a natural development – linking previous dot drawings with the recent breath drawings. The resulting drawings either need to be developed in tandem with as a separate set of work or conflated as part of the TtWL research project. They could fit the Perfectionism show that I will take part in early 2018. At the moment it is ok not to know, but both sets of work are dealing with touch and surface.
The paper I am using is off cuts of Bank paper 30gsm and 45 gsm given to me by Helen Gibbs in bookbinding. Helen recommended I try layout paper for its whiteness, smoothness and weight. Surfaces are so crucial, the surface of the paper and surface upon which the paper is placed for the activity of drawing. Every surface has its own quality and suggests depth, not a beyond the surface, but a concern with staying close to the surface, exploring what is on the surface both on the front [the side that is actively drawn upon] and the reverse [the side that that is a consequence of the activity]. ‘An attitude that is concerned with dwelling and being resident’. [Dean Hughes: ‘Dwelling as an approach to creative pedagogy’ p.74]. Even touching the surface lightly the paper is broken, punctured and torn.