DRAWING AND PRINTMAKING WITH FOUND OBJECTS
UNTITLED #3 (Posted) 2021
Untitled #3 (posted) experiments with traces of ink on photographs. The drawings respond to a series of documented images depicting empty fields recorded during daily walks. Emphasis on emptiness is a key component in the work. It seeks to raise awareness of perceived bleakness and considers possibilities for observing things unseen. Aligning the horizon along the top third of the image, the land and soil are granted the majority of focus with the intention of drawing attention to the earths surface. Remnants of found nails encountered beneath the surface while working in the land reveal the secrets of the soil and erode illusions of emptiness. The traces in Untitled #3 (Posted) signify illusions of form and indicate a witness of being once lived. Once abandoned and removed from sight, the objects emerge in the work and are granted new purpose and possibilities.
Philosopher, Bruno Latour, speaks of a thin sliver, a few kilometre above and below the surface of the earth, where all known life forms are found. He explains the fragile nature of this critical zone as being the ‘interface between the deep earth below and the vast expanse of space above.’ Little is known of this zone and yet all complexities of life forms are found within it. - (Latour, B. (2020) ‘Bruno Latour On Critical Zones’ In: Critical Zones, Observatories For Earthly Politics). To reflect notions of the fragile surface, Untitled #3 (Posted) utilises rice paper as a space that is on the one hand delicate and on the other holds all the vital content for the work. The surface of the paper is not only a means to record the image of a field but embodies the character of a field itself as a delicate and slim entity. Subjected to sensations of scratching and intrusions of mark making, the surface depicts traces which hover in front of the image. Awkward in their stance and contrasting with the softness of the photograph, they represent an etherial entity that does not quite exist in either domain, that of the image or the surface.
Untitled #3 (posted) 1 (2021), Ink on black and white digital inkjet print on rice paper, 17.9 x 13 cm
Untitled #3 (posted) 2 (2021), Ink on black and white digital inkjet print on rice paper, 17.7 x 12.7 cm
Untitled #3 (posted) 3 (2021), Ink on black and white digital inkjet print on rice paper, 17.8 x 12.9 cm
Untitled #3 (posted) 4 (2021), Ink on black and white digital inkjet print on rice paper, 17.8 x 12.8 cm
Untitled #3 (posted) 5 (2021), Ink on black and white digital inkjet print on rice paper, 17.9 x 12.7cm
Untitled #3 (posted) 6 (2021), Ink on black and white digital inkjet print on rice paper, 18 x 12.8 cm
Untitled #3 (posted) 7 (2021), Ink on black and white digital inkjet print on rice paper, 18 x 13 cm
Untitled #3 (posted) 8 (2021), Ink on black and white digital inkjet print on rice paper, 18 x 13 cm
AN EXERCISE (2021)
This work plays with methods of intaglio where traces of found objects, encountered and emerging from the soil, are scratched into the surface of a metal plate. Culminating in outcomes of mark making, the process highlights aspects of secondary and delayed consequences of action. An imprint is formed that lives on beyond the moment of making where marks are etched onto a new surface. Leaving one surface behind for another, the life of the objects evolve, impress and create a narrative beyond the hidden depths of the soil.
An Exercise (2021), ink on paper, 28.3 x 37.4 cm
UNKNOWN AND FAMILIAR (2022)
Unknown and Familiar I, II & III (2022) illustrate the landscape with a single horizontal line. Gathering research from Bob Law’s methodology, they suggest an ambiguous landscape, open and fluid. Not wanting to exist only on the surface, the work strives to understand the nature of time and the weaving of stories passed down that illustrate evolving truths and impart deeper understanding. Seeking to draw attention to care and a rhythmic ritualistic relationship it continues to investigate methodologies of learning that hope to support and cohabit rather than inflict and impact.
Unknown and Familiar I (2022) ink and charcoal on paper, 34 x 23 cm
Unknown and Familiar III (2022) ink and charcoal on paper, 84 x 59.3 cm
Unknown and Familiar II (2022) ink and charcoal on paper, 70 x 56 cm
GROUND COVER (2022)
Ground Cover I (2022) screen print, ink, graphite and gel pen on paper, 76 x 57 cm
Ground Cover II (2022) screen print, ink, graphite and gel pen on paper, 76 x 57 cm
Ground Cover I & II (2022) explore the grid in the pixilations of the screen prints. Providing horizontal and vertical structures, they are spaces to explore where mark making has the freedom to disrupt the natural order. Traces allude to forms of leftover matter and play with and against the rigour of the grid, the unyielding horizon and the edges of the image. Moving full circle, Ground Cover expands on the works of Untitiled #3 (posted). The works explore new material but continues to demonstrate differences between fluidity of trace and reproduction.