I haven’t done line drawing in a while and thought it would be helpful to begin again. It’s a way of grounding myself in the present and seeing what’s in front of me. Here’s several drawings I’ve done this week with black pigment markers. I found them calming to do.
This first one is in my work room: easel with recent crayon work and woodcuts of one of my favourite artists–Munakata Shiko*–on the wall behind. Plus another favourite woodcut by Naoko Matsubara. The drawing is practically an abstract.
Here’s one of a papier maché mask I made a few years ago, on a shelf in the work room as it awaits a place on a wall.
This is the view from one of my windows–a view I usually find disheartening because of all the ungraceful buildings. I was surprised to find that in drawing the scene I felt different about it. It lost its sense of ugliness for me. The lines and shapes held my interest and became a contrast between the curves of the trees and straight lines of the buildings that went beyond judgement. I suspect there’s a wider life lesson in this, although I haven’t fully formulated it yet.
Again, here’s some of the things on my work table.
And here’s part of a Bread and Puppet poster hanging in my work room. On the poster is a photograph of two of the enormous masks that Bread and Puppet has made, resting in their barn/museum in Vermont that we visited around 20 years ago.
*Here’s a video of Munakata’s work
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Here’s what I’m working on now–a variation of the piece I showed in Learning. This time, I’ve used only the watercolour crayons, both wet and dry. I’m slowly building up colour and texture and paying attention to shapes. I believe the piece is a work in progress–the more I contemplate it, the more aspects I see to work on.
This week, I happily received the copy of Clive Hicks-Jenkins’ book, Hansel and Gretel. In it, he has brilliantly reimagined the fairy tale. I ordered it last week from the U.K. and it arrived faster than some packages from other parts of Canada!
Clive Hicks-Jenkins is one of my favourite artists. He shows a wide array of his artwork on his blog and talks about the process that went into making the pieces. His artwork in this book is tremendously engaging with both terrifying and beautiful renditions of the characters and the settings. I’ve been pouring over the book and love the layers of paint, drawing and collage.
On the artist’s blog are many posts about the complex process he went through in making the book. The link above is to just one of those posts and also talks about the Hansel and Gretel toy theatre kit he designed. Below are the front and back covers of the book.
Last week, while I was home with a cold, I began experimenting with an old water soluble crayon set I have. I find painting/drawing on an easel a lot easier physically than printmaking with the pain of repetitive strain I’ve acquired from lino and woodcutting. So, I’ll return to the latest print after a break.
For the drawing below, all I started with was a desire to draw a human profile. The rest developed from there. I mostly used the crayons dry and combined some pigment markers with them. The drawing has a controlled feeling to me because of the outlines throughout. I was interested in experimenting with layers of colour and texture. At times when I was unhappy with the results and redid them, I managed not to destroy the image in an attack of self-criticism. I find making artwork is a dance between creation and destruction. There’s a line between honestly facing mistakes and shredding myself for making them. Now that the piece is finished, I think I’ll try making further works using this drawing as a starting point. I want to practice a looser look, perhaps bringing out the watercolour properties of the crayons. As for the content, for me it reflects some of the different voices or faces within a person, coupled with strange sci-fi or unconscious looking elements.
The next experiment I did pretty quickly, as a reaction to the first one. I cut up part of an earlier crayon watercolour and adhered it to a sheet that I loosely marked in black. I like the feel of this one. There’s the contrast between black, white and colour. And there’s the contrast of the controlled edges of the cut outs with the loose scribbles of both the black crayon and the colours within the shapes themselves. Perhaps this collage technique is one I can develop. It could stand alone or be part of larger works.
You can also see my work at artsofmay.etsy.com
I’ve been experimenting with drawing more cartoons. That process led me to a small drawing continuing with the theme of dreams that I began in my first cartoon. After having done a number of works that felt too controlled, I made a loose unplanned sketch that felt freer to me. Afterwards, I added colour to the line drawing with pigment markers and some water soluble crayons. I think I’ll work on this theme further. I hear my unfinished linocut on Leonard Cohen’s Sisters of Mercy calling me. Why have you left me and when will you return? I haven’t answered yet, but, meanwhile, here’s the 2 recent drawings.
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Recently, I decided I’d like to draw some cartoons. I’ve started with a dream I had several years ago that captivated me for its strangeness. I’ve done a lot of imagining and writing since then on the Care of Latent Kittens Course. Perhaps you’ll see some of that here. I keep going over the writing and thinking it’s either fine or it’s terrible!
However, I had fun with the naive look of the cartoon and have been working on several others. If any of them work out, I’ll also post them here. I did the drawing with Faber Castell Pitt markers. I like them because they’re waterproof and non-toxic, so I don’t pass out from the fumes while working. I also love the array of colours and sizes to choose from.
I returned to the AGO (Art Gallery of Ontario) this week during my wanderings. I sat for a while near windows looking onto Dundas Street, the busy street the Gallery fronts onto. I liked the echoing patterns of the trees and frosted glass through the window.
Later I sat in the Grange and did another contour drawing–this time of an ornate chandelier. I paid close attention its contours and that of the adjacent woodwork without looking at the sketch book. Since then I am able to recall the scene in more detail than I normally would have. Freeing myself from having to make an exact replica is proving very helpful to me and allowing me to see more deeply.