I was keen to get started experimenting with linear gestural mark-marking. It was important for me to capture the process of this as potential starting points for performance too, but as I have been cautioned not to use the studio space in the university due to the corona virus shut down, I was presented with a challenge to make use of my home environment to do this in!
My first challenge was in erecting some way of filming the process from above, as I do not own a tripod or the special craning equipment that would be used by professionals. I discovered a DIY instruction for a cardboard cradle of sorts for my phone that could be affixed to the ceiling using masking tape, and used this for some drawing experimentation in my sitting room. This floor is carpeted, which would mean it less than ideal for paint work, but does give me the most floor space in which to work.
Having centred myself by completing a yoga exercise, and reflecting in my journal, I decided I would explore different modes of attack for my gestural drawings – from standing, from kneeling, and from lying down. I was also keen to see the difference between using a large graphite stick and large charcoal (i chose these large materials to more easily capture my gesture across a wide surface, and for greater distinction in pressure, orientation etc). I opted to do these with my eyes mostly shut whilst moving, so that my gesture might be guided from the sensation/from within, rather than aesthetic appraisal. I did allow myself moments in between marks to assess whether further marks were needed or not.
I think the standing piece is my least preferred, it is more chaotic and less readily understood in terms of being gesture. I especially enjoy the expression of the charcoal, the pushing/expelling nature, and how the paper in fact moved away from me and contributed to the mark itself. Kneeling seems to be the posture in which I can exercise more control of expression, and capture the full arcing of my arm movements. Lying down was intriguing for allowing movement that was not isolated to the arms as much, and for more chance to be involved (when the graphite was caught in my hair and made no mark on the paper).
While the cardboard cradle worked for this short experiment, i found that the masking tape peeled away and the camera angle could not be easily perfected. The sound of the tape coming away was quite distracting, so I decided I would purchase a cheap phone holder as an alternative. I reasoned that if I am needing to use my phone camera to document anyway then this is a worthwhile investment!
I decided to try a paint pour experiment using this holder, this time working on my kitchen floor (to prevent any spills marking my carpet!) and had the holder clamped on my kitchen table. This allowed for a more up close view of the work in progress, but less vantage of my full body movement. I think this shot though is better suited to the A1 paper size I am currently working with.
I chose Ultramarine colour to experiment with, as I believe it the nearest to the blue of Yves Klein. I wanted to repeat to some extent the gesture used in my charcoal piece – the pushing element I thought might be interesting explored in a more fluid sense. Perhaps in my execution I was more focused on the pour (I did not perform this with my eyes closed, though perhaps I should repeat this with them shut!) and so there is less forcefulness in my gesture. It seems more meditative.