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INK

Captivated by the shadows and reflections within the forest, I have been exploring ways to capture and express these qualities through drawing.


Earlier modules led me to use chinese ink and bamboo paint brushes to create marks. By diluting the ink to different strenghts, I have been able to create a variety of shades which are similar to that experienced in the wood.


The medititive approach to the painting has been thoroughly enjoyable, with each stroke carefully considered and a direct representation of the movement of my hand and angle of the brush. Each drawing is inspired and influenced by the shapes of the trees, varying trunk girths and meadandering pathways.


Using Fabriano printing paper for its absorption quality, allowing the ink to sit on the paper with minimal bleed allowed for the shapes to remain sharp and gestural. The torn edges of the paper brings a tactile quality as I have torn A5 size sheets from their original A1 format.


Compiling the drawings creates a significant and impactful stack of work which has a lot of meaning to me. Each drawing has been produced with a time pressure, as I work through 16 A5 sheets per session. The time pressure has allowed me to be less conscious but more decisive in my brush movements.



Upon reflection, there are a few avenues for these drawings. As mentioned, when compiled they have greater impact and so I am considering ways of creating a book of drawings and perhaps including my text works too.


In addition, the drawings would look very successful if they were to be grouped and professionally framed to create wall art. I find the drawings work better when they are grouped compared to individually displayed as they have a greater impact and flow.



I have also been working to overlay drawings once they are scanned in to create interesting and captivating shapes which give another dimension to this work and lend themselves to textile work - I have explored using their as rug designs but at the moment I am unsure how successful this will be when woven on a loom. The depth and movement may be lost by the grided formation of the weft and warp structure. Alternatively, the variations of colour and speckled areas could be achieved more successfully by using a pile or loop rugging technique.


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