APPROACH

I had a wonderful day helping out at Bend in the River's stand at London Art fair today!

It was extremely interesting spending the day observing the interactions and body language of potential collectors/buyers and the average fair goer- I'm just looking, I'm not buying, I'm just looking, keeps me smiling...

Bob Billington's work (below) was very popular and regularly drew the intrigue of passers by who all approached the work in the same manner- moving close to the surface and then craning their heads round the edge of the work which was displayed raised, as if floating, on the wall.

 

Susan Michie's work also received a lot of attention, the tiny circles meticulously drawn over 14 sheets of paper (7 of which BITR were showing) appear like a translation of Michie's subconscious. It was not surprising to see people mesmerised by the patterns, moving very close to the surface of the drawings. The marks flow as they form accidental areas of density which from afar build up line.

To The Edge, detail, 2010

THEY WORK WITH WORDS

photos of our exhibition in Flat Time House

DISAPPEAR

ways of drawing indirectly. dislodging.

Drawings made of dust from scraping a conte crayon and a charcoal block then blowing away areas of dust to add highlights and shape the marks. I then blew all the dust away.
Interestingly enough the photos decided to disappear from my camera memory card...leaving me with naught but the trace of dust on the fabric!

theyworkwithwords-tumblr

click the link to our elective's blog

Fumage

A Surrealist technique invented by Wolfgang Paalen (1907-59) in the 1930s. It involves using a candle to blacken a piece of paper and then creating a work of art from the resultant image.

Bloomsbury Guide to Art, © Bloomsbury 1996

http://www.credoreference.com/entry/bga/fumage

Pigment

Anish Kapoor made a series of carefully constructed piles of pigment.............

Anish Kapoor, 1000 Names, 1979-80

Anish Kapoor, Mother as a Mountain, 1985.

Dust Breeding

Man Ray, Elvage de poussiere (Dust Breeding), 1920 

This photo, taken by Man Ray, shows a layer of dust that had been purposefully allowed to build up on the surface of Marcel Duchamp's unfinished piece 'Large Glass'. 

(The original photo before it was cropped)

Man Ray, Elvage de poussiere (Dust Breeding), 1920, printed later

(Curve templates, that Duchamp probably used while making large glass, can be seen at the bottom of this photo)

SMASHED

the glass cracked in the frame I JUST BOUGHT. I am very upset. but I will have to display the photo without...

Untitled (Shakespeare)

...the three cropped photos of my drawing- 

I am going to get the middle one printed to A2... I think it looks the best quality and I like the large space of bare latex at the bottom, it makes the dark marks appear more precarious, reflecting the ephemeral nature of the drawing.

BIG BARD

For the show...

the plan-

Untitled (Shakespeare), 2010

framed digital photographic print and caption

(frame) 73 cm x 103 cm (image) 59.4 x 42.0 cm (A2)

Due to it's ephemeral nature, most of my work exists as documentation (such as this photo). Untitled (Shakespeare) is a photograph of a drawing made in graphite dust spread over sheet latex. I created the marks and patterns by pressing and moving my body behind the latex screen. Usually I am interested in creating ambiguous images. However in this piece, inspired by a recent lecture on reading drawings, by Stephen Farthing, and my learning during this text and image elective, I have used a caption to direct the viewer's 'reading' of the image.