I have been making tools to draw and paint with out of natural materials and playing with using them to make marks and images etc within this project, in a recent tutorial, my tutor suggested that I should draw them. I started drawing the tools with a variety of media.
I had thought about drawing the tools before inspired by the work of Stuart Cairns but I didn’t really have a reason for doing so. As I have experimented with the tools, I have grown to see them as art objects in themselves and not just tools for creating art and so I definitely think they are worth being drawn and being used to draw with.
I decided to draw the landscape experiments that I created by utilising the natural form and shape of the twigs I have found. I feel that by drawing the twigs, the landscape elements of the arrangement have become even clearer. I think the drawings are visually interesting and have more of a connection to nature than if I had made drawings from a stick piece that I had tried to make look like an existing landscape. Nature has created the shape of the landscape and the shape of the skyline. The shape of the sticks is what determines the shape of the landscapes.
I feel that drawing these sticks making up landscapes has allowed me to see the scape they are making up more clearly and I will now use these drawings to make more detailed landscape drawings like I have done from the Beacons previously within this project, the difference being that nature has made up these landscape images and so they will have a deeper connection with it rather than just simply drawing what I see.
Linking my drawing as experience field option to my subject work, I decided to experiment creating drawings containing sensory representational marks that I formulated for my sensory story. Drawing the place with the sensory marks from it arguably creates a deeper connection to the nature of it and the place.
However, as drawings I don’t think they are particularly successful. I have replaced the hieroglyphic like marks inspired by John Piper’s rocky valley with sensory marks but in my other drawings I only used a few marks, rather than filling the image with them. I think I have incorporated too many sensory marks and don’t think these drawings are particularly successful. I don’t think there is any strong connection to nature here, unless the viewer was aware of my sensory work they would be insignificant. I don’t think I will be continuing with this and feel like I am trying to find ways of more deeply connecting my experience of field to my work when maybe I don’t need to. These drawings are quite forced and therefore not notable.
After a recent tutorial, my tutor mentioned that my hieroglyphic like mark making in my drawings inspired by the work of John Piper reminded her of Van Gogh’s Drawings and thought I should look at them for reference. I have always been interested in mark making in drawing and the different ways that artist’s have represented texture in their drawings.
I developed my own kind of marks from the lines and shapes I saw within John Piper’s rocky valley, it is of use to be introduced to artist’s work that is built up of marks and contextualizes my drawings.
I am highly inspired by the work and the concepts of John Piper. Particularly his views about the landscape work you create having a connection to a place and therefore a connection to Nature. I have started playing and working with the idea of incorporating parts of a place and natural objects into my work with success and I think connecting my painting and drawing with nature itself is an interesting idea to work with within my project. My tutor thought that my abstract drawings were a successful and visually appealing element of the work up in my studio space and I agreed but I felt that they lacked a connection to the place I portrayed.
Over the Weekend, I went home and collected Ivy Leaves from the area of the Brecon Beacons and primed them and started drawing my abstracted landscape drawings on to them. I chose Ivy Leaves because their waxy quality means they don’t shrivel and die quickly.
I think there is something quite charming about these delicate leaf drawings. After producing these three drawings, I experimented with adding watercolour of a similar colour palette to my chosen painting – John Piper’s Rocky Valley, North Wales.
I am very pleased with these little drawings/paintings. I felt that only drawing on paper didn’t tye in well with my project, especially considering the fact that natural trees are cut down to make it. I was restricted by the surface and so found a new surface that fits in with the concepts of my project to paint and draw onto.
Using nature as a surface to work on is something I am keen to experiment with further. I am thinking about painting onto stone and drift wood or bark as well. After completing my drawings, I took them back out into the Landscape and photographed them back in their natural environment. My drawings have a strong connection to the place they portray because they are drawn on nature from the place and put back into the natural surroundings. I am moving away from John Piper’s influence and making a current body of work with his in mind but it is not dominating my ideas any longer. This idea was inspired by being introduced to Ian Mckeever’s Painting in a hole in the ground. He made a painting and put it in a natural landscape. This set of photographs are incredibly interesting and juxtapose the man made with the natural. I have changed the natural environment here. The leaf would usually just blend in with the others but I guess it has a sense of power and importance because it stands out amongst them. I could also experiment with painting abstract Landscapes onto leaves in similar colours to the surroundings so that they do blend in and maybe they may almost become part of nature.