Working with a 0.13mm rotring pen, this was just an experiment in a dangerous level, taking up so much of my time. This work threw up all sorts of fears of how the drawing will eventually look, not working in a paid job, fear of loosing my skills in my old employment, not following a certain career path. It also could, like many if my ‘line only’ orientated drawings have been ruined by a sudden scare from neighbours banging their door shut and me jolting the pen, so most of this was done in the early hours.
My real desire, when developing this picture would be to travel around some ‘Zen gardens’ where this ‘escapist’ type cultured bonsai tree hide their hidden strangeness. This picture was imagined well away from any tensions, along the similar lines of ‘into the night’. I hope to see this image as one would see after a long meditation process – very much in line with inner peace and harmony – undisturbed tranquillity.
In a very much stylised format, these winter trees of similar species burst out from the centre of the picture. The black ink on a white background for the actual trees was fairly easy to draw however drawing the roots was a different matter, roughly taking 4-5 times as long to draw these as opposed to the actual tree. Again, this brings up the time verses determination of drawing these root structures. I looked into blending the roots all in together but decided to ‘layer’ every alternate tree putting the roots behind the ones in front. The raindrop’ exemplifies the dynamic feel to the image, whereas the Cedar of Lebanon style tree adds as a reassuring shape to the centre of the pic.
This is a signed open edition print
Initially this was going to be a study of ‘crowding in lines’ drawn at 90 degrees from each other (a kind of cross hatching), similar to the picture ‘Busy Skies’. The densest part would have spread out from the centre but after the horizontal and vertical lines were drawn, the middle part was then ‘filled in’ leaving a very satisfying ‘orb’, sun or planet like, hovering in fine balance. This then lead me to an idea of studying this approach to my work, creating these dense spaces in the centre, seeing what happens when this technique is used. It underlies this for of accurate abstact work in that I never really knew the outcome or affectiveness of this work until near the end. This is an example of ‘trusting yourself’ that the hours used to draw will create an affective outcome.
This pattern was very much a trail and error, using coarser pens in the larger patterns, fining down to 0.13 mm pens for the smallest. I hope to portray a 3 dimensional image by utilizing this technique.
This was started before my bike trip to Spain, enabling me to not have to fight over an idea upon my return. This was going to be a direct comparison to ‘Connected circles’, differing to it as each ‘circle’ is connected up to its’ neighbours. I wanted to create a similar density to connected circcles so each circle had to be visible to its neighbour i.e. each connecting line would not touch any other circle. Out of nowhere, this head appeared, just experimenting with it as it could have easily been filled in.
A surreal mountain view, with clarity in each peak and complex patterns evolving to give each mountain a character of its own. The picture takes on a certain enormity by the road going into the distance and wrapping itself around these accentuated structures. The moody sky accentuates the tunnel like vision and ‘stabilises’ the whole scene. In the foreground, the Lebanese style tree represents grandeur and age, whilst the tree on the right lends itself to subtlety and delicateness.
Expanding into wide screen format, this simple pattern was a pure ‘see what it would turn out to be.’ It did actually turn out to be technically quite hard as no real perspective had been planned until half of the drops had been completed. Some degree of dissatisfaction kicked in as the smallest, furthest away balloons tagged along the horizon. Once the sea built up the picture, it very much improved my happiness in its outcome.
Once you’ve started, its like knitting – just plod on with the idea with careful attention to detail on the size, accuracy and keeping the shapes as random as possible. The angular white objects disappear off into the horizon and emerge from the central horizon as black objects of rounded appearance, again with equal distribution and size.
After visiting an outdoor pool at Whitley bay, walking at night, the pool had been drained with only a few inches depth of water left. Rocks had been placed in the pool to kick-start a little wildlife reserve. The night was extremely clear and still, with no traffic or any other noise to break this fragile glass atmosphere, enough for me to fill my mind with the idea of creating faces in the rocks. The moon cast a strong shadow on one side of the different shaped rocks, giving me the idea of producing magical faces, all pointing in a pre determined direction. The wall surround captures these ‘beings’, safeguarding the spectator from their intent. The re-occuring limitless distance is necessary to give the observer the real space one needs from time to time, keeping the detail of the faces in the rocks further away as much as I could. The semicircular shapes in the sky add to the magnitude of the space involved. They were drawn freehand without much thought about what the shape would be towards the centre of these semi-circles, forcing myself into a situation of the inner rings ‘edges’ not being the same consistency in shape as the outer rings.