Composites exchanges have begun...

Round One: Set One

 

Inherited 3.11.15. Delivered to AP 27.11.15

 

Materials used:

Derwent Graphitint: Cloud Grey/White

Derwent Studio: Ivory Black/Gunmetal/SilverGrey

Berol broad/medium felt tip - Black

Pencils – HB/2b/3b/4b

 

The drawings were initially grid-ed up to help identify some options. The atmosphere of the Paris Shootings permeated the key initial working evening and also those that subsequently followed. The general horror of that evening was communicated to me via the radio and this seemed to filter in and out of sharpness during the making of the drawings.

 

Most of the drawings were focused on trying to get the separate parts to begin talking to each other and lock them in or unify these as a single composition. I was keen to activate a consistency across the drawings in regard of attention to detail – hard – flat landscape – repetition of telegraph poles/lines- strong diagonals – flashing patterns. Whilst some drawings are quieter, the overall flavour flirts with fear/darkness and menace. 

 

 

Inherited 3.11.15. Delivered to RL on 27.11.15

 

AP

Materials used:

Caran D'Ache 160 and 140, blue and blue/green/aqua

Pencils – F, 3H

To work on these drawings is to really push an idea out on to a stretch of still water, for someone else to reach out and take it in another direction. I know each one will develop; it’s just not in a way I can predict with any certainty.

 So? What’s wrong with uncertainty?

To work with uncertainty is taxing…

So ? What’s going on here?

To be in an open space can invite thought, unfettered, intuitive...

Solo work can follow its own intuition – gloriously, or desperately, or destructively.

In exchange and draw, there is no true solo, no guarantee an intuitive or determined piece of drawing can survive the next exchange. How does that affect the making of the drawing, the drawing process?

I’m still finding out…

 

I drew schema this time – schematics in colour – to show plans, layouts, and the architecture within each piece, developed from what was there originally.

A single pencil is slow but that’s what it needed to be this time… no fancy.