This page charts a journey from workshop to landscape to city to print room to exhibition, a project that spanned more than a year. I think of it as my beginner's guide to exploring outside with simple materials, making room for some of my own finds along the way.
Collecting from the landscape: sounds, words, shapes, marks, views
In early summer 2014 I attended a two-day workshop at Rabley Drawing Centre to explore ways to work in the landscape: walking, listening, feeling, writing, collecting, taking rubbings, drawing and collaging. We brought back ideas and words to colloborate in writing, to explore composition and then to work in print.
In early summer 2014 I attended a two-day workshop at Rabley Drawing Centre to explore ways to work in the landscape: walking, listening, feeling, writing, collecting, taking rubbings, drawing and collaging. We brought back ideas and words to colloborate in writing, to explore composition and then to work in print.
Working alone outside
For the rest of the summer I spent a day each week in the landscape, setting off to the sea, fields or river, sitting among horses and chickens, working with words and marks. Rubbings, earth and till receipts all entered my drawings. By September I had begun to explore my process back in the city through the Walk-On exhibition in Plymouth. I became a gallery 'explainer', supporting the visitor experience as part of this city-wide exhibition celebrating 40 years of art related to walking.
June to September 2015
For the rest of the summer I spent a day each week in the landscape, setting off to the sea, fields or river, sitting among horses and chickens, working with words and marks. Rubbings, earth and till receipts all entered my drawings. By September I had begun to explore my process back in the city through the Walk-On exhibition in Plymouth. I became a gallery 'explainer', supporting the visitor experience as part of this city-wide exhibition celebrating 40 years of art related to walking.
June to September 2015
Inner landscapes: monotype + collage
I then began to work in the print room, exploring a palette of marks collected along my walks, through ink and by tearing up wet prints to save the parts I liked. These repeated gestural and torn paper lines grew and connected in larger compositions. The tonal distance and change in quality between a first and a second (ghost) print from the plate traced a personal and physical landscape: for walking and for memory of place. The physical action of a strong tear in thick paper became a signifier of the 'embodied' side of memory – a gesture that said 'I was here'.
December 2014 to February 2015: landscape-timelines
Extending into colour: Heath and Hearth
I began to explore in colour and the visual language expanded through bigger marks within large torn compositions. I played with collage, pushing the freedom of this process. These works were selected for entry in the Plymouth College of Art public exhibition as part of the Drawn to the Valley Open Studios in Plymouth.
August to September 2015: final exhibition at PCA as the works evolve into 'Heath' and 'Hearth'.
I began to explore in colour and the visual language expanded through bigger marks within large torn compositions. I played with collage, pushing the freedom of this process. These works were selected for entry in the Plymouth College of Art public exhibition as part of the Drawn to the Valley Open Studios in Plymouth.
August to September 2015: final exhibition at PCA as the works evolve into 'Heath' and 'Hearth'.
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