Richard:
I begin thinking how an exploration of image-processing and material experimentation relates directly to drawing itself. On Friday last week I hit upon a migraine in the morning, the day was shifted backwards slightly by around three hours. I managed to hit the studio around 1pm with my head wrapped in what felt like cotton wool.
I now sit writing this with extremely sore legs. Yes I had them out at the weekend, camping in east-Lothian upon the sea. The sea reflects more sun rays than you care to think – and then you suffer the consequences afterwards. To put it bluntly I am now in the degraded state of sun-stroke, with a head ache attached.
So I have managed to give myself the same affected state after the weekend as I had before – slightly dazed and huddled. Perfect then to work today (Monday) on images taken in the studio last Friday – in a mirrored frame of mind.
So… I have been thinking. The drawings I have (completed or otherwise) are also there to be photographed. There to be documented. I also have the room now to build on installations and to explore further the conference that happens between the artist and the documenting-tool (i.e. the camera). One and two have become the same I think, and the collaged digital images I am now producing reference the drawings themselves in a documented state – but they also place the drawings in to the context of a ‘wider’ yet controlled perspective. This perspective happens between two similar images recording the same objects.
I think I have used this quote before (quoting myself here): “Image directories. One image holds the centre of the next image. This image gives away its centre as it knows its own centre will have space on the image that comes after.”
This quote I hope explains things a little. The drawings are indeed part of the overall image. But further than this the images themselves, in partnership, do infuse and extrapolate collaboration. One image exists in the framing of the other and vice-versa.
The images are also accepting of the editing process, just as with drawing with pencil on paper. Their conversation or discussion allows them, in the end, to exist as directories for the objects and drawings enclosed in their composition. They are the starters for an installation technique.
