Small City 2

I make 2-D work with lines. I am experimenting with changing the speed the lines are made at and altering the energy in the lines. By doing this I am defining my handwriting and in a sense myself as an individual.

I have 2 types of line, the first is drawn with a crayon which is then traced over with different thicknesses of white painted lines. The tracing makes these lines slow. The second type are much quicker lines scratched through thick paint, these are more about sensing change. Change in an urban space from open to closed, liquid to gas, or change in direction of movement.

Being linear my work can be seen as graphic rather than painting but I see it as borderline between the two.

The images I make are of cities, I draw and re-draw cities. The cities are often viewed from a high viewpoint. I am interested in seeing the patterns humans make on the planet from different distances. I change the scale of buildings. I am interested in how far these patterns reach in time and space. Do human structures have any effect on nature, on animals, the weather and climate? Does the human pattern of building have any impact on the past or the future?

Since doing a residency with musicians and artists in Portugal (2019), I discovered an interest in invisible lines. Some of the drawing pens I used worked intermittently; the sound of the drawing was being recorded. I then made white chalk drawings on white paper, the drawings becoming just visible in different lighting.

This has made me aware of the invisible connections and systems that make up a city. I have also been drawing outside for a year and getting to the same dates exactly a year later feels like being back in the same place. It has made me very aware of the circular time in nature and that as part of nature we are fixed in that circular time. So my paintings have changed, the landscape perspective has totally gone leaving a much more medieval space.

 

Oil on Canvas

25x20x2cm

Unframed