Unit 2: Fine Art РD̩rive (pt 3)

On one of my walks, I was interested in drawing, and drawing with, natural forms and materials. This began with an interest in the trace I was leaving through my action of walking, the impact I was leaving – my footprint.

I then proceeded to print my muddy footprint on pieces of paper that I had brought with me, using different types of mud that I found around me (varying in their viscosity). Here I prefer the clearest print – the one from the path itself – and I feel this most clearly represents the impact of my walk. I enjoyed using the surface on which I was walking as a material in itself and transposing this onto another surface. It felt a fitting way of capturing the moment. I chose then to experiment with drawing one of the leaves I had been stepping on in the mud, using the mud itself. I used a dipstick to achieve a linear sketch, and printed the leaf itself. I found it interesting how similar the linear structure of the leaf came out in the print and my sketch.

Top: Dipstick drawing with mud of leaf, Bottom: Mud print of leaf
I repeated this exercise using drawing ink back in the studio
I repeated this once more with the remains of a pine cone that I found at the base of a tree, which had been gnawed and deconstructed by a squirrel. To the left, I experimented using ink wash as well as drawing, and on the right I also used pencil to sketch the pine cone, to gain a more in-depth study of tonality and shade.

This exploration of structural forms in nature, and their linear form, is interesting to me. Most interesting for me in the printing is how it reveals hidden forms that might otherwise be missed by the eye – particularly in the pine cone above. It was also interesting to see the transition of the printed image from when saturated with ink to after several prints – the big contrast and interesting silhouetted shapes created in the saturated images are very abstracted and intriguing I think.

Play: Chance & Sequence – my work

Charcoal drawing of where pieces of 4 different types of string landed when dropped from a height onto paper

In this workshop, we were introduced to 3 different approaches to drawing, and performed exercises that incorporated an element of chance within them: stochastic, system, and collaborative. We were then invited to expand on these exercises further.

The above image is what I produced for the stochastic (organic) drawing exercise. One by one I dropped pieces of string onto my paper and drew where they had fallen. I was keen to capture the difference in texture and shape demonstrated by each string type and varied my marks and weight with the charcoal to do so. I think this has been quite effective. In doing this exercise, the longer I went on (say after the first 6 drops) the more editorial I became with how the string fell – I still dropped it from a height and observed how it had landed, but if the composition was not quite to my liking I tried again without documenting this shape. It was interesting that I gained confidence/a sense of agency once I had a feel for the task at hand – that there was a sort of dance in a way of the relinquishing and regaining of control with chance.

The second exercise we performed was the system drawing. Here we were told to draw a grid and then populate 6 squares to the side with 6 colours. Then we were told we would be rolling a dice and painting 6 consecutive shapes within the grid with the colour for square 6 if we rolled a 6, or 2 consecutive shapes with colour 2 if we rolled a 2, etc.

(top) my first grid, (bottom) I repeated the exercise with a less brilliant palette a la Mondrian

The third approach was collaborative drawing. Here we would receive an instruction from Myfanwy and add an element to the paper in front of us (e.g. draw a line). We would then pass the paper on as instructed (e.g. pass it twice to your left, and rotate it through 90 degrees). We continued like this for some time, adding what we had for breakfast, a drawing of something in the room, a pattern, etc. Finally, we were instructed to retrieve the paper that we had started with and made our first mark on (the line). We could then add to or remove elements in order to make it uniquely our own.

Here is my finished collaborative work. I chose not to obliterate any contributions from the work, though I submerged the pattern (which had been done in biro in the bottom right corner) beneath my ink strokes so that only the texture of the pattern could be seen.

I enjoyed this exercise, though I find the artefact itself I am left with does not fully capture the process I myself went on. Since I had created equivalent elements for each of those seen in my finished work, but they are not here seen, I feel there is something lost along the way. I also dislike that the orientation of the piece is difficult to really nail down, with the elements often being drawn at contrasting ones. But it was an interesting exercise.

For my self-guided piece, I was keen to do another piece that captured the element of dropping. In the session we had been introduced to the below work by Jean Arp (that does appear to have been choreographed somewhat) and I was keen to try this method out for myself.

Jean Arp, Untitled (Collage with Squares Arranged according to the Law of Chance) 1916, MoMA

Then above an A1 piece of paper that I had placed on the floor, one by one I (without aiming/looking blankly into the distance) dropped the pieces approximately above the page. I varied the position of my arms in relation to the paper, but maintained roughly a height of 1.5m.

In my first attempt, I found that much of the paper floated off the page, and others ended up clumping into little piles. I felt that the clumping/pile effect might be difficult to effectively capture by sticking, as I would need to deconstruct first and then recreate and might lose something in the process.

For my second attempt, I decided to introduce an element of system/rule to the dropping, and not drop all the pieces of paper in one sequence. Here I chose to drop the coloured pieces one by one first, and then reappraise prior to dropping only a selection of the black pieces. This was interesting, but I still found that the pieces formed a pile/clump.

I decided to restrict the number of pieces of paper I dropped even further. Here I chose to remove from the collection pieces that did not fully have torn edges (i.e. exclude the pieces that had a straight edge)

3rd attempt with restricted pieces of paper

I was very interested by the fact that in restricting the number of pieces I used, the composition appeared to coalesce to a form of sorts – here a diagonal stripe. Below the piece following sticking down with Pritt stick.

I think it is interesting that texture and depth has been lost to some extent in the process of capturing these by sticking them down. A loss in a move to permanence from something impermanent?

I chose to repeat this with the remaining pieces that I had excluded onto another piece of paper.

Intriguingly, again a diagonal shape was formed, this time in the opposite direction.