Turning points

September 25, 2014 | Comments: 0 | Categories:

The creative process can be marvellous and mysterious, frustrating and demoralising.  Occasionally something magic happens with a drawing and a work takes a whole new direction, one which was not planned but is very much welcomed.  These are the works I think of as the turning points in my progress through drawing - the ones which spark a series, or through which a new working method develops.  They act as landmarks showing me where I've come from and suggest routes forward too.

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Dalkeith burred oak 1

This is the most recent turning point which I completed earlier this year.  Inspired by a dead oak which I found on my very first visit to Dalkeith oaks in 2005, photographed then subsequently 'lost' amongst the hundreds of trees there.  I'm usually pretty good at finding my way to the particular tree I'm looking for, but this one eluded me.  Thankfully I found it again this spring and I fell in love again with the barkless surface and its contorted burred forms.  There are six works in the series so far and more to come I think.

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Hopetoun half tree

A major leap forward occurred in 2009, when I was shocked to discover a favourite roadside beech had been beheaded, leaving the torso like trunk starkly exposed. Up to that point I had been wrestling with the problems of what to leave out when drawing trees - the complexity was overwhelming and details seemed to obscure the essence of the thing.  When I saw this devastated tree I realised that the chainsaw had revealed what I was searching for and inspired my ongoing torso series in charcoal.

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Tay beech

A really old one, done at the end of a drawing course at ECA, around 2005.  I decided to try zooming in on the light and texture of the tree's surface and just really enjoyed the mark-making aspect of the drawing.  I hadn't picked up a soft pastel in years and it felt like quite a liberating piece of work at the time.

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Craigie chestnut 1973

It's titled 1973 because of the date carved into the stump - a massive and somewhat incongruous chestnut by a path in an area of former quarrying.  I guessed that the date related to the time it was felled - there's also a partial cut on the stump which might have been made at the same time.  It was such an odd sight and so sculptural that I decided to draw it 'in the round', to give the sense of walking around the tree.  After making initial sketches I developed a method of working on a scroll of rolled paper on a wide board, and returned with my new kit to make this drawing.  This 360 degree approach has continued to develop, the piece below being a more recent example.

The tree lives on incidentally, with young branches sprouting from the base, producing sweet chestnuts every autumn.

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Dalkeith oak 718

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Crichton shattered beech

I had this image in my head and an urge to draw big, so cut myself a piece of paper 1m x 1.5m and got stuck in.  It's really not that practical - it's unframed and tricky to move around but I had a great time making it.  I felt as though I had room at last to do the tree justice.  One day, when I have plenty of gallery space to fill and ample funds for framing, I shall make more on this scale.

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Philpstoun ghost beech

"How dark can I go?" I wondered.  Here I began to push the amount of charcoal I could apply to the paper and the ways in which I removed it too.  Randomness was encouraged and responded to, the image allowed to emerge.  Something ghostly appeared on the paper and I liked it - it had a combination of drama and subtlety which has featured in all my later charcoals.

I think of drawing as my method of discovery and these are some of my landmarks so far, each turning point leading to new and unexpected territories.

 



A tenacious tree

September 22, 2014 | Comments: 0 | Categories:

This is pure indulgence - whilst looking at these photographs I can relive memories of a drawing trip here in early spring this year.  Ancient oaks, gorgeous light, solitude apart from buzzards and the occasional frog.  I've done a few 360 degree drawings of this tree but looking again now I think it merits a whole series to itself.  Maybe this is what comes next...

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The art of framing

September 21, 2014 | Comments: 0 | Categories:

framing-wall-view Wood nude tree limb view

A confession: I have done no drawing for two whole weeks. I really miss it.

However,  I have been thinking a lot about framing and presentation, which is a necessity right now with a show coming up.  So I thought I'd share a little of the thought and preparation that goes into putting my work on the wall.  I've learned a lot since I started exhibiting, some from generous artist colleagues and most from trial and a fair amount of error.

Why do frames matter?

A frame does a number of jobs - it protects the work, especially important for my fairly fragile charcoal drawings, it provides a safe method of transporting and displaying the work and, if you've chosen a good one, will make the work look great. It is of course a choice whether to frame or not and I often like to show my large drawings unframed if possible.  I really enjoy seeing other artist's work unframed, I feel somehow closer to the act of making to be able to see it without glass.  But I also can't help feeling disappointed when otherwise interesting art works are displayed in unsuitable or just plain bad frames.  Perhaps this is the designer in me getting frustrated with careless presentation, but all the feedback I have had from exhibiting has made me realise that presentation really matters.

framing-oak

My framing choices

When I mounted my first solo show I did lots of research into framing techniques and quickly realised that ready made frames would not suit my work - there needs to be a decent gap between the glass and the surface of the work for dry media, which means a deep frame and careful handling is needed.  I also felt that quality was very important - there's no point putting your heart and soul into a drawing only to plonk it thoughlessly into a flimsy Ikea frame.  I love Ikea for other things incidentally, just not for my frames!

I also realised that I was not destined to be a DIY framer - this was a job best left to the experts.  After trying a few local firms I was lucky enough to find a small but meticulous framing company and have developed a great relationship over the years.  Trust is very important in this exchange, since many months work is handed over to them and much effort and expense is involved.  Edinburgh based Linda Park is primarily a painter, but is also very busy with her framing clients.  She has a painter's eye for what will complement the works and takes great care in handling it.

framing-tests

I've discovered that there are complex and subtle choices to be made.  Which of the twenty-four shades of white would I like for the mountboard?  How many millimetres depth do I desire for the frame?  Which delicate shade of grey for the hand finishing?  How do I want to balance each side of the border?  See - no wonder I've not done any drawing.

So I have a drawer of paint charts and test pieces which I spend a lot of time squinting at, trying to imagine what it would look like and try to keep some consistency with my choices so that the overall effect in an exhibition is harmonious.

Preparing for an exhibition

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Here are my most recent works just collected from the framer.  She's done a beautiful job as usual and I'm pleased with the new choice of colour for the pale hand painted ones - I think this works well with the predominantly white background of the work.  I now have to get them ready for hanging in the Meffan Gallery, which means mirror plating them.  I also sign, date and title them on the back and add my contact details.

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I worked out that it is much easier to pre-paint the mirror plates white, then attach them, rather than paint them after they've been hung.  No more going round with a tiny paintbrush before a private view, more time to do your hair or sample the wine or whatever. I position the mirror plates exactly halfway down the sides of the frame which makes for quicker and more consistent hanging, and for ease of transport I reverse them so they don't damage other works.

There are thirty four works in the next show, 'Time around trees', so it took me a while to prepare, wrap and label them all, but I know that the better my preparation is, the more time I'll have during the hanging to get things just as I want them.  And that's the fun part.

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'Time around trees' opens at the Meffan Gallery, Forfar on Saturday 4th October and runs until Saturday 1st November.