Searching for a visual language

 

Four days of wet weather produced a different challenge. Instead of overcoming the frustration of the time it took to walk to each location and therefore the size of the work I was able to make, I was faced with the new problem of how to keep the work dry. More importantly, how to get it dry in the first place. My preference has always been to work wet on wet, whether with watercolour, ink or pigment and so I begin by soaking a piece of paper. By the time I have applied coats of water-soluble medium to the surface it is saturated and usually takes ages to dry. As an aside, this means that I need a robust surface to work on and am therefore using 320gm Arches NOT watercolour paper at the moment. The decision is a balance between affordability and strength and I am constantly amazed at the punishment you can give a sheet of Arches and it still doesn’t tear or rub into holes. Spend too much on a sheet of paper and it puts an unseen break on the flow of my creativity.

So here I am with a saturated surface in the unpredictability of heavy snow, hail or rain showers and the challenge becomes how to get the work home. You can imagine, with my impatient nature and a wonky thermostat (which means I am always cold) I soon run out of patience in a climate approaching 98% humidity and so decide to stuff the work into a bag and stomp home. But out of circumstance, happy accidents can happen and on reaching shelter, the image was completely lost but something else appeared.

As I have described elsewhere, Eigg has encouraged me to engage with Geology, at least superficially and given the way that stone was once molten, erosion demolished mountains and lava flows became ridges, I have looked for a visual equivalent with which to describe the process. Molten graphite offers a possibility and so my deconstructed drawings became an opportunity.

 

 

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