I have had this knocking around the studio for months and have finally resolved it. The paper is quite interesting to work with. It is Jackson’s own-brand “eco-friendly” 100% cotton, handmade paper from India. It is made from recycled cotton, each sheet being individually set into the moulds and then dried in the Indian sun. I like that these papers made in small moulds which means each sheet has 4 deckle edges in 1/4, 1/2 and Imperial sizes, so each sheet is unique and individual. Most sheets have got thumb or finger prints on. It doesn’t cut or tear cleanly because it has threads of cotton in and the surface is really fragile so no scrubbing and rubbing! Show it low-tack masking tape and it falls apart and sticking it on the wall with white tack is likely to tear a hole out of it. The surface absorbancy is completely random, the texture is variable and the colour is different from batch to batch. In many ways it is rubbish paper: so for me it is brilliant! I have to be either 100% certain what I want and hope it works or give myself over totally to its whims
I am pleased to announce that my ink and watercolour drawing The Prophesy Restated has been selected for the RWA Drawn 2015 exhibition. It is the largest of a series I was doing at the end of last year. I am still interested in investigating the theme further now that I am a little freer to work on more complex and larger field drawings. This small success means that I will be exhibiting in Bristol for the first time and will have two shows running at the same time with my solo installation #Letter365 running at Bridport Arts Centre until 11 April.
Today’s #arteachday post on Twitter was this drawing in Rohrer Antique ink on a Moleskine concertina book. It was something that I have been wanting to do for quite some time and I had put it off for at least three days because making that first mark on a piece of paper, especially quite an expensive one, can be a bit daunting. I don’t know why it should be: I rarely ever make a mistake when I am full up with something. when the piece exists in all but the physical. In any case, my work is about the interplay between control and chaos so it shouldn’t really matter if I do make a mistake – it wouldn’t really be a mistake, just me expressing the chaos element!
Anyway it all worked out really fine and once it was dry and I could “play” with it I found it had been even more successful than I could have hoped. Someone else thought so too as it was snapped up by a collector in the United States within an hour or so of posting it.
I got on well in the studio today and completed this imperial-sized in drawing that I had been wanting to do for weeks but not had the space or time till now. Really pleased with it and hope to finish setting up my photographic lights in the next few days so that i can get some good photos of this and other large works on paper.
I got this tweet in my Twitter timeline today. Feels great to have given some real pleasure to someone’s life and enhanced their home. This is one of the pieces Gabriel and Alan bought:
Another minimalist dotty drawing which was today’s #arteachday post, except I forgot the image!
Today’s (well yesterday’s because I am late) #arteachday thing was this large minimalist ink drawing.
Yesterday on my #Letter365 blog I said
If you want pictures of fluffy things, portraits, realism, impressionism, boats on water and that kind of thing I’m generally not your man.
So the devil in me thought I should make my #arteachday post on Twitter should be a line and wash sketchbook entry of the coast across Lyme Bay west of West Bay.
Today’s #arteachday post on Twitter today was this little ink drawing on watercolour paper. I have been mounting some stuff today that isn’t going to get framed right now and this might be one worth doing for Dorset Art Weeks.
Today’s #arteachday post on Twitter was this third working of a disk motif remeniscent of Max Ernst’s sun/moon disk