These are a couple of drawings I did a while ago. It seems I had a thing for drawing on little bits of thrown away paper, ephemera, cardboard boxes, the pages of old notebooks. I enjoyed the feel of it, taking something seemingly insignificant and somehow making it precious..perhaps its something I'll revisit.
I quickly took some snaps of the cheeky chap that is living in the bottom of the garden. I saw him there sitting amongst the shrubbery taking 40 winks, dreaming about this and that, and when he finished, he got up, looked me square in the eyes...and stuck out his discourteous tongue at me...I do really hope we can be friends.
They know places,
They fly away,
Into a dream once
I saw them wonderfully white
Silence rushing through them.
I woke up rolling forward
And the whole world
Played lamb and fierce creatures,
struggling though burning winds and fighting for air
Blood-raw skin to bones to earth,
Trying to pinch each other, nothing worked.
Really, we were going through a kind of hell.
Throughout history drawings have been used as a form of visual expression, they map our past and become capable of documenting lives and discoveries; through drawings we behold the ideas of generations. We have all engaged in the process, from our childhoods when we traced the forms of clouds with our fingers, incising patterns into sandy beaches, making the earliest mark in the fundamental relationship between pen and paper. There exists something innate in the act of drawing which enables us to articulate ones self in a form that is different and more vital from writing or speech.
By tradition the act of drawing takes place upon an empty space, paper sets the precedent as the area which awaits the mark. We can view the paper as an accessible space; it is free to anything, open to ideas, arguments, and ready to accept our thoughts, the space is physically finite yet conceptually open. When the process of drawing starts the accessible space of the paper serves to define a field of possibility which is gradually absorbed as the act of drawing fills the surface.
Fluctuations between past and present and the passing of time are also closely linked with the nature of drawing. The process evolves by building upon itself, lines amalgamate to create layers and enable the drawing to mesh with its own past. With the addition of each stroke made on the surface the chronological sequences involved in the process are reshaped into elaborate system of instantaneous relationships, forming interconnections between different times. So we see the final drawing as a memory of a process, it is the by-product of time and human activity; recalling within its structure, its mark and implied gestures, a documentation of time.
Okay, time to do the dishes.