The cloths drying in the garden last weekend have been transformed into two suspended pieces and are awaiting their finishing touches.
The starting point for these works was a simple drawing – a brush stroke – a nothing really, but as often happens the act of making causes thinking. These pieces bring so much to mind …..
The sea drawings of Wilhelmina Barns-Graham ….
Linear Development Green, and Three Lines 1982-87
…. walks along the beach ….
…. Naum Gabo sculpture ….
Linear Construction No. 1, Perspex and nylon, 1942-3
…. Lines, A Brief History, Tim Ingold – especially the chapter on Traces, Threads and Surfaces where Ingold makes a distinction between different sorts of line. Threads, which are filaments and can be entangled with other threads or suspended in space. He gives a skein of yarn, a necklace, an electrical circuit and a suspension bridge as examples. Traces, he says, are marks left on a surface by a continuous movement and can be additive or reductive. A chalk mark on a blackboard it additive and a scratched mark is reductive. Other traces are a snail trail, footprints and drawn and painted marks. The third sort of line is a rupture in a surface: a cut, crack or crease.
What sort of lines are the marks in these works? How do they relate to the world? Are they representations of something or do they come from my imagination as a notation or codification of an experience?
Talking about her drawings Barns-Graham wrote that they came from ‘an inner perception and outward observation’. These pieces came from a simple drawing but as I make them I draw up images and experiences whose significance becomes important to the work. I walk and notice – the memory of these ‘noticings’ feed into what I do – outer sensing turns into inner seeing.
A brushstroke has turned into the movement and motion of sea waves and currents.