Drawing and photography are central to my practice. Both make pressing - if sometimes fictitious - claims to the capture of lost moments.


One thing after another

Brush markers and gouache in Windsor and Newton sketchbook.

I spilt some gouache on the page in my studio and tried to turn it to my advantage by roughly colouring the whole page and then drawing on top of this ground. There is always something disinhibiting about a ground that is already messy, where the pristine page can sometimes be daunting.

I am always intrigued, in looking at other people's sketchbooks, at signs of continuity or discontinuity, how one page follows another. Often, there will be something akin to an evolution, where a certain approach or material is used for a stretch of time and produces certain stylistic and technical results, then giving way to another. My sketchbooks never seem to record a continuous line of progress. I find myself chopping and changing a lot. If I've been working with brush markers for a few days, I want to go back to ink pen or to pencil crayon, or pencil and watercolour; more careful, delicate drawings follow rougher, more expressionistic or scribbly ones. For me, the sketchbook is as much about material experimentation as it is about observational drawing. 

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