Archives for category: Drawing

This month I have been drawing using a mashup of print technique:

IMG_5727

screen printed mother and child onto feint proof of Diana Bloomfield’s engravings

IMG_5733

continuing the mother and child motif

IMG_5719

mother, grandmother, child photopolymer and screenprint

IMG_5721

overly complex?

IMG_5722

simple but bonkers? lithograph and screenprint

I was up in Liverpool this week to introduce my work to LJMU Fine Art students. I felt envy. They were so young and beautiful. They have so much time to spend on themselves. Workshops are crowded with kit. Supportive and enthusiastic technicians and lecturers. Then they started to ask me questions. Two in particular:

what is your driver?

how does one stop one’s drawing practice from being too tight?*

I’m paraphrasing there but OMG it took me right back to being at the Central in the 80’s and these are still things I struggle with.

I don’t have the answers but I am compelled to make. Making things gives me a deep satisfaction. I do it for the flow. I do it for that moment of wonder: ‘wow, I didn’t know I could do that!’. BUT that doesn’t mean everything I make is good. Far from it. You could fill a house with the mistakes I’ve made and indeed I have.

And it doesn’t mean I know what I’m doing. Pretty constantly I feel confusion. I worry that I’m committing valuable resources (time, energy, money) on an activity that is pointless and will produce something without meaning. (I am fortunate to have people around me who resist saying ‘is it worth it Emma?’ although they can see how vulnerable it makes me and how much it costs in every sense.)

If you turn that around though, i.e. ‘I know what I’m going to make, I know why I’m going to make it…’ where is the challenge in that? Where is the opportunity to learn something about ‘how to’ and yourself? Where is the dialogue between yourself and your work and how is it ever going to surprise you?

Being confused is a painful way of being but I’m used to it now. The harder you work the less likely you are to question why you’re doing it. (Note: by work I mean play. This too I find very hard to achieve being as it’s so close to working without apparent purpose.)

When I became a mother I thought I would feel like a mother. I felt a fake for the first seven year’s of Rachel’s life. The longer you are in a role the more likely you are to feel like you are the role.

I still want to produce better work than I currently do. That must be part of the driver thing.

POSTSCRIPT: regards the drawing practice question above* start by reading

Henry Moore On Being a Sculptor pub Tate, 2010
Lines of Enquiry: Thinking Through Drawing pub by Kettle’s Yard, Barry Phipps 2006

As you know this body of work and the related exhibition received Arts Council funding. To apply for the funding you have to fill in a form online. The form asks you to describe what you want to explore in terms of your practice and developing your practice. Here is my list for this project:

— do the two lines of inquiry work together here to create fresh meaning?

— does the work progress beyond observation to express the emotional content of a thing?

— has the artist succeeded in freeing herself from focusing on meaning early on, in favour of allowing it to emerge through play and process?

— which of the ideas in the exhibition would benefit from reshaping in another form?

— is the onlooker given enough space to become involved in the creation of the work’s meaning?

— has the artist been adequately disciplined in her choice of technique?

I don’t know why I call it that.  This image has a photopolymer plate as its starting point. (Exposed at Spike Island last year.) I had already made a print from the plate that took off in the direction of things that menace and slither. This one I thought was going to say something about labels and categories. The garden tags are plastic screen printed with my Gran’s garden plan in her writing. I wasn’t sure about how to incorporate them and the yellow really dominated. First I made a flower explosion shape but it was too much so I cut them through which created a pile of tags. flower explosion rejected

The pile made me think of garden bonfires and pyres so I glued them down and screen printed a drawn pile over the top to push the yellow backwards.

possible daisy top rhs

possible daisy top rhs

Drawing directly on it would have been risky because of plastic substrate. The daisy shape might reappear in the top right hand corner, I’m not sure yet.

My Gran and so many others in the family are very big into their gardens and plants. They use the Latin names.

showing the positive laid over the print

showing the positive laid over the print

owl and burn for wordpress blog
since I last blogged. Picture this: I was working in the underground bunker which houses the University’s collections of organic matter (wet and dry rooms) when my father was admitted to hospital. He was given only a short time to live. We rallied round for a couple of months and then he died, at home. A short while later there was an event celebrating his life, a life filled with art and architecture, music and natural history.

His death came less than a year after my grandmother’s, a wood engraver, designer and gardener.

I haven’t been back to the underground stores. I haven’t been able to face all the dead matter. Now when I consider those collections I think of things people haven’t managed to let go of. The University has its reasons, obviously, for hanging onto them. Multiple reasons probably.

I’m trying to process what’s happened to my dad (and my gran) and my family as a whole.  I drew him as he lay ill in bed. (He agreed to it but that was so unlike him that I now feel I stole something he wouldn’t have wanted to give had he been more ‘himself’.) I seized his shirts when they were offered. The shirts, the drawing, the writing, keeping the notes I made of meetings with the local nurses, touching and re-touching his stuff: it’s all my way of holding on to something that’s gone. I’m not going to pickle it – an idea – but I have been trying to re-create with it, a bit like in the Liverpool World Museum where the stuffed lion and zebra are poised mid-chase by the watering hole. That is a re-arranging of one reality (stuffed dead animals) to create a new one. The new one is false but looks like life. We can relate more easily to it as a result.

The work I’m making now is varied. With Lol at John Moores University, I’ve burned the drawings of my father into heavy papers, combining them with a drawing of a baby owl he would have loved. (Thank you Jay at The Owl Sanctuary, Shropshire.) I cannot bring myself to frame these even, although they would be safer framed. I find them too painful to look at.

Concurrently I’ve been re-making using one grandmother’s buttons and china left by the other. These things will take on new life recorded in photo-intaglio etchings. They will look like archive material because etching has that aesthetic somehow. Since the beginning of this project I have ‘felt’ the gap between the decorative and the ‘other’ collections at the Victoria. In my life as in the lives of my father and grandmother the decorative and the natural world have always been closely linked. I’m hoping these etchings will resonate in the overlap between the two areas of study.

Without finishing either the jacket piece or the garden labels piece (see last entry) I’m back making watercolours of the specimens in jars in the wet zoological store at the University. One thing stood out: necessary to have a moment of panic and a degree of wrestling with the image if it’s going to ‘bear fruit’ . 

 Here are a couple of takes on the ‘no label’ specimen of a couple of entries back. The one on the left is drawn with a glue gun. I’m doing more of these.

Also looked at the wonderful sailor’s knot of an octopus below – only 15cm high. Jacket and garden label pieces will just have to ferment until the way forward becomes clear.

This week: ask Leonie Robinson to identify this specimen; do glue drawings over vein type screen prints; wax and plaster models of ‘no label’.  If I put it down here then it has to happen doesn’t it?

Had a visit from Professor Terry Russell just before Christmas. We talked about the lack of colour in the stores, also children, teaching and science, dissection, drawing, vacuums, liquids, printmaking, research questions and how to write them up, sealed micro ecosystems. Prof Russell heads up the Centre for Research in Primary Science and Technology based at the University. We met at the print studios at the Bluecoat. I’m hoping his input will continue.

I’ve been thinking about labelling. My gran produced a beautiful garden plan. I have screen printed it onto both sides of these plastic plant tags. As a flat sheet, they remind me of postcards. Separated they make me think of germinating seeds. Will continue to fiddle until something happens.

Also playing with red and blue veins / tributaries / fractures / root systems. Have printed a number of these to be backgrounds for drawings (on paper). Also screen printed this onto the lining of a beautiful white jacket: reverse side. Have partly detached from the jacket and turned inside out. It reminds me of a flayed arm in the Heritage Collection and an engraving by William Cowper I saw in an exhibition (The Quick and the Dead) at the Hayward in the 1990’s.

Just back from the stores and still trying to warm through.

Another thought-provoking visit. Spent most of it in the ‘wet’ room (11º c) amongst the specimen jars. Drew, placing the drawings in glass as I went. Another small intervention, a distraction really. The real organisms and animals ‘in vitro’ split into two visually: either they look to be ‘in utero’ (the vertebrates) or they look marine i.e. somehow natural in liquid.

Still struggling to direct my thinking. Here are drawings of an unlabelled marine creature, which took me off towards classification, notation, the need to organise, to stucture, to draw order out of chaos. Also drew cynthia papillosa, which led me to the World Register of Marine Species online. It turns out that this can be almost tangerine coloured when alive. Lack of colour in both wet and dry stores is significant.

The ‘wet’ collection doesn’t get out much. Without strict temperature control evaporation is a threat, changing the strength of the formalin-water mix. Formaldehyde is believed to be carcinogenic and an alternative liquid used in these containers – alcohol – is a fire risk. Thus re-location is hazardous. Am thinking ‘what would happen to the ink drawing if immersed in formalin mix… could I make replicas of this specimen in wax?’ etc..