the sketch is the view from a table in a shop in a village in the Cotswolds. I could tell you where but it’s not important really. Plus, there are only three small tables so if we all turned up together they would be a little overrun. And this shop is a sanctuary. It is remote, warm, full of goodies, close to my best friend’s house. And no phone signal. Perfect. I sat in this shop this week and listened to the silence. It was exactly the right thing at the right time. The type of silence you get next to a fire, with a dog sleeping at your feet. An enveloping shawl of silence. So I drew the silence. Then I drew the rest.
So this week, instead of going for a cup of tea in my local cafe as I normally do, I went and sat in the park and sketched what I saw. It was flipping freezing and very windy so it was a very quick drawing! I used my new (vintage but new for me) Japanese Oil pastels by GuiTar : fantastic they are.
I hope you like it. I enjoy doing it and I’m starting to really enjoyed using lots of different colour techniques. I am learning some art history at the moment too and listening to our other artists manipulated colour to get their message across is really interesting. At the moment, I’m on Kandinsky and Mondrian. Get me, I almost sound like a student!
The picture below is a watercolour that I did the other evening rather than eat sweets. Away from this blog, I am trying to improve my eating habits in order to preserve my health that little bit longer. So, I think I will be doing way more drawing in the future as it keeps me away from the biscuit jar! However, I am not a saint so my wine did appear as a central character in my still life. The grains you can see are in fact salt. I’ve put it on to soak up some of the colour and like the way it looked so I photographed the picture before I brushed the salt off it.
As part of my studies I am also playing (I could say investigating but let’s face it, playing is way more accurate) with the multitude of drawing apps and programmes out there. I will post on my favourites soon as I am narrowing down the list of contenders at the moment. In the meantime here is Face 1, a test piece I did this morning. It was built up using a very precise grid based app and then layered with more scratchy, blurred work from a more paint based app. I’ve included the earlier versions here too so you can see how it developed.
I am developing my ideas around the movement from information and experience to insight and inspiration, the Flow as I have previously called it. As part of this, here is a digital piece, layering images of notes I made in Manhatten this year as I realised that my freedom was down in great part to the confines placed on me by my health. I had escaped by being caught. There’s a clash there. This is a seam I will continue to mine. Have you been in a similar posiiton I wonder?
Now,you may not know this but I have a science background. Physics is my friend. I am well versed in velocity, voltage and variables. And now I’m trying to stretch to Vermeer. Varnishes and vorticism. And it’s definitely exercising the grey matter but no matter…I love it. Here’s something I’m playing with, note the list…my new spheres of influence.
Now, you know I am a recent addition to the student population. I am a few weeks into my MA course and this is what I’ve learnt thus far…
- my brain is still there, who knew?
- Occasionally it works too…
Witness, a panel discussion this evening where, although I admit my long word radar was going off the scale, I found myself making some connections between what was being discussed, and coming up with some original (I hope) ideas and questions to explore at some later date. As follows:
- if fiction breeds sentiment when making a film then is nostalgia based on a lie? Rather than being a warm fuzzy remembrance of things past is it a deliberate attempt to redact the unpleasant aspects of our own and others’ history?
- Does being political In a film (or other medium presumably) make things less interesting? I think not, but one of the speakers put this forward as an opinion. No one disagreed!
- Even if you want to be ‘authentic’ and represent the truth in a film by using facts as inspiration (photos, diaries etc) you still can’t help but introduce artifice and thus will you always be creating an unreal record?
- Do you have to rely on falsehood in order to convey the truth? When making a film I think so because you can’t ever replay a moment unless it’s filmed real time and even then it’s fraught with pitfalls.
- A song was chosen deliberately to be used in a film with the intention that it would come on the radio ‘randomly’. I thought of this as being ‘deliberate chance’. A paradox.
- There was a discussion about the venue where you show a film. To me the venue, the nature of how your audience sees your film, must be really important. The venue must act as an amplifier for your idea behind the film. Certainly, if you see a blockbuster In a tiny cinema you lose the vavoom Hollywood intended!
- There was an extension into how some artists are very specific about how they want their film, piece, whatever presented eg Bill Viola. To me it’s a no brainer, if I want a film to be received in the way I intend then I will be anal about how it is presented. If it was a painting I wouldn’t say, oh, you choose the frame and where to hang it. I’d make my demands. Nicely of course.
Lots more but these are my main thoughts. I’m going to explore some of these ideas a little more, when I don’t know. The image is my note page from the panel. Can you decipher it? I can now, ask me again in a week!