In considering my work and its relation to movement, I have begun to make large rapid drawings which use lots of physical energy and rapid circular movements to make them. I want to draws to be fleeting, building momentum throughout each work.
I was initially inspired to make the drawings by passing a closed down butchers shop in Wimbledon, whose windows had been whited out using a soap/chalky substance that had been smeared and swiped all over the glass surface. Looking at the window, through the directional force the marks had been made I could perceive some of the movements of the person who had blocked out the window.
I realised it was this aspect of drawing that I am interested in using within my own practice, using it as a way to make drawings which reflect the power and speed used to make them. I feel this is another way for people who encounter my work, to feel connected to it in this way.
Using a combination of pastels, graphite, charcoal and erasers, I make many layers of moving marks, then using the eraser I identify and common link between the shifting lines and begin to work that into the paper. So there is an element of pattern making through the repetitive and consistent lines to making the drawing.
I tend to following quick circular moving with my hand and arm, I feel this is because i am generally very drawn to using circular shapes within my work. This may owing to the fact that many objects and people are able to move in this way, and much momentum can build through spinning in a circular motion too.
During the making of the drawing I felt that I wanted the centripetal lines to continue travelling from surface to surface, so as a final act to make this series of works, I began to drawin onto the floor where I was sat, and moved my arm around my body as far as I could reach, making a trace of where I had been for making the drawings. The ‘aftermath’ of marks left in the space is very interesting for me to develop in other works that I make.
