Stepping up to the line, finding the curve.

Drawing...

Gesso chalk charcoal ink board sand paper wire wool water ash 

Perception of edges, contrast, relationships, space and the whole. 

Drawing becomes part of you like a boot; strong, moulded to your own shape, full of story and layers of history. It captures more than a moment more like a lifetime of mark, stroke, scratch, rub and surface.  A tentative line can gently meander only to be juxtaposed with solidity.

Holiday drawings 2013. Eweleaze beach. 

Drawing Closer

The Colonnades, limited edition print www.dlwp.com shop £30)

My drawing practise 

I draw in order to see.  I want to see things more clearly, differently, to gain better understanding of surfaces, form, contrast and space. It slows me down and stills my urgency to record and develop ideas. Through the process of mark making I become physically and emotionally involved with my environment. This connection is important because it allows me to interpret what I see, to get beyond the immediate.

Drawing enables me to begin developing a visual language for identity both external and internal. This is a life long growing cathartic narrative of how I see the world and its objects; this is an extension of me. A visual story revealing and mapping my life.

I find it stimulating, challenging, exciting and frustrating. I cannot, not draw. I cannot create work without drawing, it focuses and strengthens integrity. Drawing is about being raw, open and honest. 

Wave series #10 and 11 are in Rye Art Gallery until 24th March.

Wave series  #10

Wave series #11

Drawing prize to rock star via a shed

Being on the Jerwood Drawing Prize shortlist http://jerwoodvisualarts.org is an organic experience. As the exhibition tours the country its both perceived and received in different measure. The new Hastings Jerwood Gallery http://www.jerwoodgallery.org is currently hosting this diverse and fascinating show until January 6th.

For me, at a relatively early stage in my career its been an essential endorsement of my ability giving me that extra measure of self belief that opens new doors and not only seizes opportunities but anticipates them too. To see my work exhibited in professional spaces such as the Jerwood Space, London ,http://jerwoodvisualarts.org be written about, check out CQ magazine Winter edition http://www.culturalquarterly.co.uk and be taken seriously face to face is both amazing and invaluable.

Its a bit like making a really good hit single which needs to be backed up with an album. So in order to achieve rock star status I have stepped up my attitude and am taking myself seriously, getting myself a specific place to work, setting a 12 month plan in motion.

Ok I've bought a shed. The process of raising the money to buy a studio shed was incredible. I had to get all my work together from the last 25 years (oh am I that old?) completely empty and clean out our flat living space, (do not underestimate this task I live with 3 boys under 9 years) display it, price it, advertise the whole kaboodle and then bake mountains of Brownies. It was like having my own un-curated retrospective  Scary (because you don't always want to show a diverse range of work all together) but also enlightening because I could see a progression and maturity in my work, common themes, some fantastic observational drawing and experimental work. I saved a few pieces back to work on in my next phase.

The next phase is more drawing.  Big lumps of charcoal and square formats. Using the landscape as my framework I am developing a Creeping Buttercup illustration for a lovely friend who has been patiently waiting for this work for 2+ years! But its right that its being done now. Blog on Creeping Buttercup to follow.

I have been overwhelmed by people's support and their compliments. My three boys also spotted an opportunity to become the next young apprentice and made over a tenner selling their own drawings and painted shells for 10p each. This was fabulous and really broke the ice for everyone.

Shed-ding light on a new work space

I have been contemplating how I can finance a garden studio (a shed to most people). From researching several varieties of sheds it seems that a potting shed might do the trick as long as I insulate it, put a skylight in the roof, get some electrics to it and put a tap in the garden. (I would love to throw some old palettes together but just don't have the skills, time or physical build to do it methinks). All this is very possible but will cost over £1000. So after a meaningful discussion over the bathroom threshold with the software designer we decided I must sell work in order to finance the project... In my defence I have already begun with 3 exhibitions in Lewis and Eastbourne most notably the http://www.townereastbourne.org.uk/ Towner Gallery cafe where I have sold this one so far.

Storm 

But the niggling question 'what if nothing else sells?' remains and thus a strategy was born fuelled by a need to have a better place to work away from washing draped everywhere and the usual family detritus  Using my status as a Jerwood shortlister this year, I am pursuing contacts and galleries which I think will be suited to my work. 

My first research trip to Rye Art Gallery http://www.ryeartgallery.co.uk/ was very positive and Sarah was very warm even remembering my name and work from the Rye Contemporary Art Fair back in 2011. She was willing to set a date to look at my work despite being in the middle of curating two shows and expecting a new grandchild. 

The plot for a potting shed thickens: now I am having a studio sale to raise shed funds on 24/25th November 2-5pm in Bexhill, have been accepted into axisweb http://www.axisweb.org so now have this webpage, I am looking into crowd funding and an arts council application...so hear goes

Feel it don't think it.

this is not a horizon, 'Drawing Now' Linchpin Gallery, Eastbourne from October 6th -26th 

Disconnect shell collage 1

Drawing is a language we should all practise. If you do it often enough it becomes a natural extension of you. Distance yourself from ideas that drawing should be this or that. Drawing is mark making, expression, thought.

If I apply this same freedom to other areas in my life I can get a better sense of myself unconstrained by what other people or groups think. Without judgement. This in term allows for a stronger integrity and truth.

My disconnect series continues with work based on reflecting a state of mind, a psychological self portrait. Investigating my history, my reaction to influences in my life such as faith, family, culture, education and location. Black graphite is something I strongly identify with and use a lot. I am using a combination of  representative forms such as triangles and landscape as a structure for thoughts, feelings and emotions.

It feels clumsy and shaky but I think drawing gets more interesting the more vulnerable I feel, I often feel very nervous while I'm drawing. As I'm doing it though, strangely, there is a transferral of confidence and strength. As if another force is at work and that is my logic letting go and instinct becoming dominant I have to feel it not think it.

Oddly enough articulating this phenomena involves thinking not feeling it. Which lies at the heart of writing an artists statement. My conclusion is that I should see writing as drawing and get practising.

Jerwood drawing prize

I entered along with over 2000 others for a place alongside 70 in the London show of the longest running drawing prize just daring to hope I might be accepted.

I was!

This is the drawing. 1x1.5m in graphite and charcoal called Longman.

I did have another one of a different section of the same hillside ....but I tore it up in anger. Was that wise I now ask myself?