EDAM Term 2: Drawing with manipulated paper and stitch

Most of the  drawing  projects  of  EDAM  course  so far have really pushed me out of my comfort zone, trying  new techniques, media and approaches.  But  part of the benefit of  that is that I've not been afraid  to try things out, to experiment , to be prepared to fail.  So I was really looking forward  to the  2 sessions with Ruth Brison  on drawing with manipulated paper and stitch  as textiles are my favourite medium.  In  many ways though it was the most difficult so far , knowing so much  about the subject , it was really  hard to try and put aside my experience and knowledge and look at the techniques with fresh eyes and try something new. 

Ruth has explored using paper and stitch a lot   in  fine art drawing  with links to sculpture and textiles," developing the idea of using the fluidity of paper as structure and seeing stitch as a link or a line  to draw, divine. mould, trace or forge a commentary or idea about something" 

 Many of the artists she mentioned  I was familiar with : Alice Fox; Gwen Hedley; Ian McKeever.  Ones new to me included Noami Kobayashi; Heather Tribe ; Mia Pearlman;  Kate Ward . Work by Ines Siedel I found particularly exciting.    

 The first morning was about exploring the process , choosing methods  to make  several paper structures  and practicing ways to use sewing machine and/or hand stitch. Resources included a variety of papers, acetate , string  etc and   lots of ideas for paper manipulation ,layering with collage , stitching and linking  with pins, staples, tapes. 

 I mainly concentrated on  sewing  tubes of paper and scrunching them  around  cardboard  tubes  in a similar method to  the what I use for indigo shibori)   and  tearing paper  where it was perforated from stitching.  I also  stitched layers of  pages from 'Time Out'   and cut through them in 'faux chenille' effect  ( much quicker than using fabric! )   

 The sewing machines provided were sturdy mechanical  Bernina's and although  not exactly the same as my machines, I was familiar with the threading etc so  was able to assist several people when they  were having problems with tension etc. Other peoples work where they were new to the techniques seemed much more exciting than my efforts .  I rescued  a piece of  stitched drawing that Asli had thrown in the bin  as the  loops  on the underside   where the tension had  gone wrong  produced wonderful marks! As a novice she had persevered in stitching whereas I would have realised there was a problem straight away and corrected it  (  she abandoned using the machine and produced some lovely work using hand stitch ) 

 Back of Asli's drawing with looped stitches

At home , I took photos of some the pieces I produced against the background of Asli's  'failed' drawing:   stitching on acetate ( above) has possibilities ( I had tension issues too!) ;  crumpled 'shibori' paper (below) 

 In the afternoon of the  first session  we were encouraged to  choose a direction  developed in the morning leading to a sculptural drawing, hanging  or mobile  choosing  2-3 key areas of interest , creating a mind map .

 Following up the idea of vessels  from my tutorial with Ute , I used  some of the  stitched papers from the morning to construct some 3D structures.

 Then at home  in the evening   for my daily drawing in sketchbook,  to record my day I explored layering with torn stitched paper, rubbings on colour catchers and tracing paper ( below)

The second session  the following week was devoted to developing  a single theme or idea  from drawings , sketchbook work , photographic information or found materials.  Given my usual  problem of having too many ideas, I decided to return to the subject material of limpet shells  which I've used  several times before  ( eg in Large Scale Sketchbook)  but so far not satisfactorily.  Plus I had some new ones in my collection thanks to my visit to Birchington -on- Sea! 

 I used my time on the train profitably  in recording the   paper structures I'd made the week before ( above)   and in making a 'mind map'  of what methods I might  explore ( below) .  

And here are some of the results: 

Pleated and gathered photocopy of thread monoprint  ( from session on bookmaking ) 

  Cone  of  textured khadi paper  wrapped with linen thread 

 Disc of grey watercolour paper, ink lines, wrapped  with variegated crochet thread 

 In my daily drawing sketchbook I repeated  some of these ideas, drawing on a disc of paper, gluing it on sketchbook page and cutting out hole  then stitching and wrapping linen thread  around it. Interesting from the back too, with glimpses of the page  below ( lessons from Large Scale Sketchbook   if on an A6 scale ! ) 

With a plan, concentrating on  exploring just one idea and the beginnings of understanding mind maps  , it was a far more relaxed , productive session  with time to have a long  discussion with Ruth  and talk with others  about their ideas for the project next term on the theme of 'meanwhile'. 

Drawing Tuesday: Ancient Cyprus gallery at British Museum

Sketching Tuesday at the British Museum  was in Room 72 ( Ancient Cyprus) . I  started by drawing the curvy terracotta votive figures ( 'Goddesses or Mortals?')  but then was fascinated by the backs of the statues   seen through the cabinet. At the end of the session I went to have a closer look .  I loved the chisel marks of the rough backs contrasted with the smooth, more finely worked fronts and the negative space between.  You could also see the reflections of their faces in the glass, very eerie but I know my limitations!  I did try to put into practice  what I'd learnt about drawing sculptures from the excellent British museum drawing course I went on last year( examples conveniently  at the front of my sketchbook!)

Drawing Tuesday: Frieze Sculptures in Regent's Park

 Drawing Tuesday this week  was  of the Frieze  sculptures in the 'English Garden' of  Regent's Park ( Royal College of Physicians if wet!). Luckily the rain (mainly) held off   but the RCP is on my list to visit .

 My choice of subject ( John Chamberlain's  'Fiddlersfortune") was dictated  by there being a convenient bench to draw from, not having my sketching stool with me as I was going to the RA in the afternoon.  It was fiendish to draw with the highly textured pink aluminium surface and all those intertwined coils but I did enjoy  the freedom of using coloured biros before settling into a more considered study in pencil.  

 Our lunch at the 'Smokehouse'  was interrupted  by the noise of a helicopter , which landed on the lawn just behind us!

Proms and Paper

Yesterday  we went to out first Prom of the season - a Saturday Matinee at the Cadogan Hall near Sloane Square . Sarah Connolly has an amazing mezzo voice,  singing in 'Pheadra's Frock' borrowed from the production at Glyndebourne.  Afterwards, as in previous years we went to the nearby  Saatchi Gallery, where Ian bought me a colourful pair of artists brush earrings to wear on my painting holiday next week! The exhibition on 'paper' was thought provoking: used in so many ways from large scale drawings of overlapping pieces;  collage; paintings  to puppets, papercuts and diverse sculptures

Trees featured heavily from 'branches' made of layers of newsprint to delicate paper-cuts from paper bags(  I'll never look at a McDonalds bag in quite the same way again)

The structure made of kites had the wow factor.

I would have liked to have had more time to look at the suspended city made of tracing paper but the gallery was closing  and we were racing round to have a glimpse of everything  before they chucked us out ( we have a bit of a track record in that regard!)

Strangest and most intriguing was this papier mache boulder attached to the wall suspending belief.

David Nash Wood Quarry

 I left work early on Friday to walk down to the 'Wood Quarry' of David Nash. Nobody working but evidence of some interesting works at different stages of development.

 There were some sketches on blackboards which showed how sections of the tree would be used for varied artworks. I particularly liked the ent-like  figures made of branches that looked like they'd walk off under their own  momentum. The column in situ references the pagoda not too far away and also brought to mind the 'totem' qualities in David Hockney's paintings - thinking how different artists could reference similar material ( dead trees) in  such diverse ways.

Walking to Victoria Gate there were some sculptures still under wraps and others unpacked although surrounded by construction fence. Exciting times ahead!