Chaotic Order
Surprise Surprise, I am still working on the three panel charcoal drawing. I was thinking it probably hasn’t even changed that much since the last time I showed the group. However, when I looked at the last blog post I realized there have been quite a few changes.
Phew.
I don’t expect an in-depth critique as it is all along the same lines as last time but I have a few things to explain about this stage of the process.
As I mentioned before, this project is far from finished, and most of what you see here will be pushed into the background at some point.
The most obvious difference from the last post is that The Winged Victory has been rendered in a combination of charcoal and pastel and at some point (when I no longer want her here with me in the studio) I will erase her (or parts of her) so she is still visible but only just. I think of William Kentridge and his fantastic description of the palimpsest that remains in his drawings. There is something magical in what was once there and is now barely visible. It is interesting that The Winged Victory showed up at this time. I initially had no ideas as to why she was there and then Andrew sent a great article in the New York Times that connects a thread from New York to Italy and then down to my studio at the bottom of the world. If you are curious here is the link:
https://www.nytimes.com/2021/10/28/world/europe/brescia-italy-winged-victory.html
The top left corner is where I have been working for most of this year. Another intricate line drawing floating in space. It is half finished at this stage.
Over time (it has been 2 years) the drawing has collected a lot of dust on the surface, which is to be expected. Interestingly, while working on the line drawing up in the top left corner I kept noticing something on the lower section of the middle panel. It looked like a random mark of charcoal with a long dark shadow cast behind it. From where I was sitting, the random mark looked like a small rock/pebble, especially with the shadow and it took me back to the Spanish landscape where I had been for the residency in 2019. I keep looking at it for weeks while working and started to think that I may need to revisit that landscape and maybe it needs to be drawn into this space. So, just a few days ago I started to draw it in. The funniest part was when I took a close look at the “charcoal pebble” I realized it was actually a ball of cat fluff and that the shadow was a real shadow caused by the light coming in through the window to the right. The shadows on the drawn rocks are done in a way that cast the shadow as it would be seen from the actual window in the studio. (above right image)
While working on the rocks I started to think that maybe it would be interesting if they where above rather than on the below. So I looked at turning the left panel upside down. Still thinking on that one. Also, I am aware that at this stage the rocks look more like pillows, I still need to add more shading to them.
In addition to the above work, I have been chipping away at a light drawing on sheets of translucent black paper and sheets of translucent white paper. I am planning on doing a series of them and layering them over the top of each other with a gap in between allowing the light through. These drawings are being done on paper I haven’t used before and the tearing breaks and cracks is something new that appeals to me and yet the paper is quite strong so doesn’t fall apart despite how it looks. On the black translucent paper I find it interesting that areas that hadn’t had as much pressure appear darker and with less light. I am now curious as to whether this can be done with more intention to create shadows and tonal value in future drawings. It is still all very experimental.
A quick side note: I re-read my MFA thesis this morning trying to find the quote by William Kentridge about the palimpsest that remains in his drawings but I couldn’t find it. Instead, I found this funny musing of mine and now I am wondering if I can see these ideas floating within this work or am I just forcing it to relate?
“With my studio practice, I endeavor to create work that reinstates the value of connection by dismantling the fence that contains us in a world of excessive sensory input.
To curate a space that removes distractions and heightens the perception of ideas that float just outside the periphery.
A non-linear experience.
An enchanted encounter with a visual and auditory landscape of breath.” From MFA thesis