grass drawings
I’m exploring the idea of drawing through site specifity, inspired by the Mario Merz drawings from post 59:
I take a photo of a patch of grass, approx 15cms parallel to the ground.
Print out the image.
Go back to the same patch of grass with the image and draw an automated, continuous line drawing on top of it.
These images were printed out onto yellow lined memo paper and graph paper. The bottom image is on glossy photo paper producing a clearer line. I’ve found that grass creates a background ‘noise’ leaving the drawn lines indecipherable.
Essentially I want to connect the drawing to the site. I have thought of another way to do this which is to replace the drawn image with a page of clear perspex – the perspex is held over the grass with the drawing and photographed, all in one, two birds with one stone.
Sometimes I think I have the answer before I start looking elsewhere but these decisions are so difficult to make!
undone
Another dead hat…
I have three ‘undone’ hats with before and after images. Is it enough just to have these photos? It’s so difficult to edit your own work. You have to rely on your own judgement but at what point do you get to recognise if you’re flogging a dead horse?
tape drawings
I’ve found a way to engage with drawing that seems to make sense; to use objects as part of the drawing. They need to be part of it somehow.
I bought some second hand tape cassettes then took them to pieces, I was intrigued at all the parts that make the whole. Does anyone use cassettes anymore? Surely they will be antiques sometime soon? While I was taking them apart and drawing them I wondered if this was all they were good for now, documenting their existence.
Using the object as part of the drawing makes it a documentative process. Here is the physicality of the object, buttressed with a pen.
I traced around the parts, drew over the tape and these images are of some drawings made with one of the tiny reels.
Similar to how you would use a Spirograph, I placed the reel onto the paper and attempted to draw the inside of the reel but without any anchorage so the pen chased the reel all over the page. It was frustrating, pointless and futile. Good. There is only an implied restriction.
I’m using A4 yellow lined notepaper. I think it’s memo paper. Maybe I use it because it’s already marked, white cartridge seems too formal.
These are preliminaries: I fight the temptation to try this process with different paper or a larger size, – it is what it is, so it’s best to continue as is.
undone
“What a pretty hat!” said the old lady at the charity shop… yes I thought, I’m going to cut it up when I get home.
I’ve made a conscious decision not to become too prescribed with this, just go with the flow, but I’ve had some new thoughts worth exploring.
I’ve been watching Grayson Perry’s exploration of the classes, particularly intrigued about his view regarding contemporary art being a middle class pursuit. I’m working class but had the opportunity to study art at university.
Thank you Laura Alabaf for making me your choice blog! Last time someone wrote about my work it was at uni. It’s fascinating to hear about your own work through someone else, it helps you see where you are going.
Undone
I took the sombrero apart piece by piece, tearing away at each strip of plastic, undoing the thread. It came apart so easilly. I feel a bit sad for doing this!
When you take something apart you find out what it’s really made of, how these bits make the whole.
This is the second photo, with the undone sombrero in the same position with the same sitter. I’m going to keep on and see what happens. I will decide what works as I go in an attempt not to be too prescriptive.
I’ll find some more hats tomorrow, it all depends on what the charity shops have on offer.
