Monday, 18 March 2019

EDAM Term 2 : Exquisite Corpse

 The ' Exquisite Corpse" one-day project with Heidi Wigmore   started off by looking at the etchings of the Chapman Brothers  and talking about its roots in Dada/Surrealism. Heidi had run a   workshop  at the Ferens Gallery in Hull   in 2017  in response to  the Turner Prize  ( some of the results below), the collaborative nature of the  process yielding interesting results.  

We had 2 A1 sheets each folded in half  and joined together with masking tape to create a 60 x 170cm sheet   taped to  a large drawing board on an easel. We used  images from a 1970's colour supplement ' One Million Years of Art'  as the basis for our heads and bodies
We  started off  with the head - it could be a painting, sculpture, human or animal  but whatever we drew , it had to be done in charcoal as accurately as possible ( quite tricky  given the tiny size of the photos) . I started with this Greek head. We marked on the fold  guide lines  where the head finished then folded it over the back of the  drawing board   and passed the whole sheet of paper onto the next person . 

I neglected to take a photo of the initial stage of the head , the photo above is much later on after several processes  but you can see the basis of it . 
 For the 'body' section  I drew from an Indian manuscript, trying to capture the patterns on the cloth  and for the 'trunk to knees' , I chose a  Roman sculpture ( below) 

Then  for a bit of fun , the 'legs' came from a Chinese  ceramic horse! 
And then we received our original drawing back to work on further. I particularly liked the feather cape  that Lito had added  and that formed the basis of  my work.  

 Josie's  head with my torso 
Shabana's head with my ' trunk to knees' 
And my particular favourite , Nicola's donkey head  with my horse legs . It was a complete coincidence , I had no idea  what the starting point had been 

On receiving our  piece back,  we worked with charcoal, compressed charcoal and eraser and finally  with white acrylic using a dry brush 

Above is how Josie had worked on and improved by drawing and Shabana's final work is below. 

In between the use of compressed charcoal  and acrylic, we had to spray  the drawing to fix them using either the roof terrace or the small balcony off the student sitting area. This is Lito's ' Hanging around at City Lit!"

Saturday, 16 March 2019

EDAM tutorial - a lot to think about

On Saturday 9 March, I had my EDAM 2nd Term tutorial with Ute Kreyman. Filling in the questionnaire   and talking through how the drawing course was feeding into my art practice gave me a lot to think about.  I took in the cloth I'd been working on when on  sewing retreat in Glenthorne and  photos of both my drawing and textile work  as a basis for discussion 

I'm really enjoying the challenge of EDAM, learning to love charcoal and working on large scale, moving away from   representational to more abstract, reacting to layers and marks rather than preconceived pictorial idea.

Of particular value/interest   in regards to composition  and large scale mark making was large scale drawing  with Tony Hull,  starting off  with blind drawings of object,  building up layers , drawing wrapped object   then disrupting  what had produced, adding extra paper. 
 I started off by showing past work  in quilts – square/rectangular  format as  I will be working on 2 similar  pieces  for group exhibition at Creek Creative, Faversham in September . 

 With   my most recent piece ‘Wind Me In  The Sea’  ( currently exhibited in  7th European Quilt Triennial )  I've  been looking  at  working in  a more 3D  format , double sided, continuous loop. 

          I'm interested in recording journeys/mapping ( carrying out research both online and in books - I received several for Xmas! ) and  was am inspired by the Oceania exhibition at RA, the  teachers notes on Marshall Islands map and John Pule

 Besides my drawing practice ( sketching every day  as well as the EDAM work) I talked about the 
importance  of ‘ Mapping a Sense of Place’  with Mathew Harris -  going for a walk , collecting
 objects, recording  memory of    walk   in inks on paper/ primed calico strip . Blind drawing of 
objects collected then 6 tasks in   a chosen ‘space’ (looking at line, repetition, shadow etc ) and 6
 processes ( paint, stitch, collage , etc) order  selected using dice. 

I'd tested out and repeated  the procedure   in my  recent   sewing retreat in Lake  District  with addition of making  quick sketches  along  walk as aide memoire  ( as well as taking photos ) .I also made detailed drawings of some of the objects I collected. 
This process has a lot of potential that I wish to explore further in local area ( eg walk to station)

 In moving towards a more sculptural approach Ute suggested I could: 
-  look at   work of David  Smith -  sculpture with sense of drawing  eg Hudson River Landscape 
( which was one of my favourite pieces in the Abstract Expressionism exhibition at the RA )

-          Try using fabric  manipulation , use like clay or wood , keep small
-          Drawing in 3d  with mark- making  ( strips of fabric/ thread)
-          Collaging  2d to 3d (colour compositions)
-           Reference  the intermediate drawings  of wrapped object from large scale drawing

 I've always been interested in ceramics, old pots and pot shards , “ the hand of the maker “

 (  and attempted  a 3D piece in fabric before (‘Taplow Vase’)  with mixed success!)   

We then  discussed  what I found most  difficult and ideas for the 3rd term individual project and exhibition . I  always have too many ideas,  and difficulty deciding what to concentrate on  ( Advice that can only understand 1 message in 1 piece, the rest  should be noted in sketchbooks )

The exhibition at RK Burt  will be  ‘Works on Paper’  .
As I  wish to  continue with ideas of mapping , I need to investigate how  paper can substitute   for 
fabric in  ‘cloth’   pieces ( concerns  about difficulties in stitching paper as it tears) 
I feel a shopping expedition coming on  to see what papers are available from Shepherds and test out 

El Anatsui at October Gallery and Drawing Tuesday at Petrie Museum

Nearly a month since my last blogpost , too busy doing things to record  here  so a lot of catching up to do!
 Last Saturday  I had my EDAM Term 2 tutorial with Ute Kreyman  and I made the most of my trip up to London to fit  in  a visit afterwards to the October Gallery to see the El Anatsui exhibition. 
I nearly didn't make it as there was trouble  with the trains as signalling cables had been stolen overnight  and spent nearly an hour  on a stationery train . Just as well I had my sewing with me!  So I only had time for a quick lunch  in the British Museum Members Room before my tutorial. 

The El Anatsui exhibition  was of relatively small pieces ( if you compare them to the covering of the front of the Royal Academy!)  as well as some interesting prints. It was lovely to get so close to the work and the shadows cast were wonderful, I was very aware of the 3D sculptural qualities.   

On Tuesday I was once again back in the British Museum Members Room for lunch before an afternoon's drawing session at the Petrie Museum. One of my favourite places,  it's so  crammed with stuff it can be overwhelming and difficult to choose where to start.I just love all the pot shards and fragments. I was distracted initially by this wonderful footstool and  thanks to Carol , spent some time opening some of the many   drawers and finding bizarre collections.  

But as on my last visit there, I settled in  a chair with table to spread out my materials (including  new calligraphy pens)   in front of a cabinet  and drew just what was in front of me 

Pen and coloured pencil over initial rough pencil sketch 
Trying those new pens in continuous line ( sort of) 

Looking at the negative shapes

Toned Khardi paper with white gel pen, Uni pen, graphite, coloured pencil and limestone  from Deal Castle