The start of the new year

In a tutorial with Tania Kovats this week, we reviewed the new work I’ve been doing since Unit 2 started in June. At the end of Unit 1, I was fed up with what I had been doing, felt it had run its course.

Since then I’ve been working with a number of family photographs. My initial idea was to try out different drawing media and techniques, with a view to somehow creating large collage drawings combining aspects of my life and myself. The process of making the drawings has led me to think more about what I remember, what I don’t know, how the narrative in my head about who I am and how Me-now is linked to Me-as-a-child relates – or doesn’t – to the story visible in these photos. And of course, I have been considering what is important to me in these images.

We identified the pieces that work:

And then there were three, Sept 2016: ink on paper; 50cm x 70cm

And then there were three, Sept 2016: ink on paper; 50cm x 70cm

Legion, August 2016: collage on paper; 110cm x 115cm

Legion, August 2016: collage on paper; 110cm x 115cm

Someone to watch over me, July 2016: calligraphy ink on paper; 76cm x 56cm

Someone to watch over me, July 2016: calligraphy ink on paper; 76cm x 56cm

Free, June 2016: graphite on paper; 60cm x 40cm

Free, June 2016: graphite on paper; 60cm x 40cm

Freewheeling, June 2016: graphite on paper; 60cm x 40cm

Freewheeling, June 2016: graphite on paper; 60cm x 40cm

 

 

 

 

 

 

 

And the pieces that don’t – or don’t yet – or don’t look like they are leading anywhere:

Souvenir, July 2016: graphite on paper; 53cm x 77cm

Souvenir, July 2016: graphite on paper; 53cm x 77cm

160929-a-family-01-for-web

unfinished

 

 

 

 

 

Julie Mehretu 'Mogamma' 2012

Julie Mehretu ‘Mogamma’ 2012

Julie Mehretu 'Mogamma' 2012: detail

Julie Mehretu ‘Mogamma’ 2012: detail

 

I think I may be working towards a different kind of collage, inspired by work by Ndijeka Akunyili Crosby that I saw lately, and by Julie Mehretu’s drawings. This is one in the new Switch House at Tate Modern which combines precise architectural drawings with bold painted lines and masses of organic marks.

 

 

 

And we talked about working on my long exposure images to bring some of them closer to my drawings, by trying them in black and white and on softer lusher paper.