Ross:
Watching Richard collating his images for proposal has given me food for thought. Although we are not strictly working collaboratively, we have a need to learn from each others work. We must adjust to accommodate. Not only does this force us to consider our practice it also keeps us on our toes. I know that I must keep producing work for Richard to see. I must maintain a standard.
We haven’t yet confirmed an exhibition, yet the simple act of sharing our practice spurs us into creating. A pattern begins to emerge through this practice. The diamonds keep appearing. As you can see from the images on the right I started with a triangle. Then it became diamonds. Next it will grow further and larger. This is of course just one piece of work, but how it will affect not only my own future output but Richard’s as well is what I find exciting! Why diamonds? I’m not sure but we are both looking for that answer.
Richard:
Experimenting more today as putting together images for upcoming submission. collating images for proposals and stripping relevancies down to five or so ‘representations’ of your work, is an interesting process! Found some good corrollations between images I might never have before realised.
For example, a few times complex drawings end up consolidating previous pieces of film work and performance work. The first image in this post explores collaborative (as well as dominant and submissive) relationships, one character seemingly in charge of another: the ‘other’ with its face hidden. This reflection on character is then also explored directly through film and projection in ‘Ubiquitous action’. This character also being the artist and the documenter too.
Continuing also with lozenge idea, diamond presentation of drawings out side of frames: letting the related objects / set-ups frame the idea instead of physical frame itself.
These are drawings in the form of lozenges stuck to the wall with small circular dark blue round sticky labels. The drawings depict partnerships, people acting out and collaborating in some sort of way, making use of interiors, house plants – certain aspects are deliberately sculptural as well as performative.
The drawings themselves are here displayed as reliefs, tearing away from the normalised structure of the frame and instead developing and referencing sculptural installation.
Together with an installation shot of Ross’s work showing drawings diaplyed in the lozenge format. And also an idea/sketch for possible installtion realised from the original drawings… ideas for exhibition begin to formulate themselves….
I cleared my space today and looked out my paper. I’ve been collecting it for a while now. Piece by piece. Some I’ve had for years and just never used, some I’ve found in skips and abandoned houses and some i’ve taken from the backs of books where the bind has left the pages blank. The latter makes my 2nd hand book browsing twice as fun but I like them all. My collection continues to grow.
So how will I use these? For now I will lay them out on my drawing board and think.
I’ve been working with diamonds haven’t I?
A little nibble of text from a proposal we’re putting together…
THIS IS MEDITATIVE: DRAWING AS A FORUM FOR COLLABORATIVE EXCHANGE
“Two artists can often have a conversation about their work, but working together rarely happens without building a collaborative relationship first. Artists can now give one another video links, profile pages or websites for reference, read statements, CVs or follow a slide show of portfolio images. But is this an actual artistic relationship, a representation of one, or just a by-product of new technologies and how they are re-forming the context of artistic reproduction? Both artists use the medium of drawing as a process to initiate and drive ideas in their work, and it is with this where they began to explore the above question.”
(See image to right) Ross: I attended a seminar at Aberdeen University with Prof Tim Ingold. He spoke of his research into line theory. very interesting. Here is a piece he wrote in defense of hand writing. http://www.dur.ac.uk/writingacrossboundaries/writingonwriting/timingold/
