Artists to check out:
Marian Piper. Repeat patterns, dense, intense shapes. Really like. Displayed / framed off the wall so that there is space behind - like that. Also off the floor.
There is this:
REEL 1, 2016, gouache and oil on canvas, 60 x 46cm
And another called 'Repeat Copier' that have these dense black shapes superimposed on a drifting wet-formed gouache background that look like they are floating. Again you get a sense of what is underneath. Floating still upon a fast current like leaves suspended on a flooded stream. There is a feeling that time is moving at different speeds, and a definite illusion of space being created.
In the 2015 works like 'This Year's Model' there's a strange sense of decay. Perhaps in the sense of copies that decay a little with each iteration as they move further away from the original, which isn't but looks like an over-inked screen-printing accident, the shapes seen behind a slippery curtain of industrial bottle-green.
Image from http://www.marionpiper.com
Metahaven - Manifesto.
http://mthvn.tumblr.com
This is a bit William Gibson in all his cynical dystopian net-based romances and adventure romps made out. A sprawling spew of images ageing from the 80s with tongue in cheek use of Times New Roman. Making an exhibition out of what their Wikileaks client didn't like, flouting graphic design rules... amusing to me in my role of a graphic designer.
However, interesting ways of exhibiting: Printing on silk, hardboard leant against wooden frames on which other images are pegged, mugs, t-shirts, clashing missing font text - all kinds of highly visible merchandise.
Doreen Massey - 'For Space' - more reading. Space should not to be confused with stasis but understood as fluctuating with time.
Eva Rothschild. For me hers is archetypal drawing in space. I can see why but I have tried this and abandoned it for illusionary two dimensional space wherein I don't have to deal with all that gravity stuff - stuff that is always in some manner pointing down. I'm not set on leaving it abandoned but it feels like a space that I don't need or want to inhabit. I think I shall probably have to come back to why that is, like why I feel I have to justify bypassing it. But that's going to be another post.
Mark Bradford. The layering and the cutting in and rough edges. Time spent and the sheer size and scale. The idea of mapping and cartography. (Cutting is reminding me of David's work).
We also talked about mapping the space that you are in, and I can't remember the name of the work: the story of the ruler who commissioned a 1:1 map of his lands and it reached a point where no one could be certain of where they stood - on the real land or the facsimile. That would be discombobulating for sure.
How I feel about progressing in terms of scale and volume: What I draw has to be shown in a way that not only works with what the image, it has to be intimately integral to the artwork otherwise it's not worth doing and will only detract. However, the mode of display, and I really like the idea of having space behind the work somehow, is really worth considering.
I wonder if I could play with this flattening / drying process to shape the paper somehow after I've drawn on it. The little hills and valleys that form as the paper wets during the ink stage are really interesting as it's because of the internal sizing and construction of the paper and I can't control it beyond amount of water and how I let the water pool, so perhaps there is something I can do there.
I also really want to look at joining of paper more - so now I have a destiny for the ink and chalk dust page that has been staring at me for 3 weeks from my home studio wall.
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