Phil Goss, Director of the Centre for Recent Drawing in London, is going to be curating a group show for us at the gallery. He has proposed New Perspectives as the theme and title. Ahead of the show, we had tutorials with him and discussed what work to make for the show.
When I showed Phil my recent work, he commented on the layers of imagery and meaning in them, and the ‘unreadable’ elements. So much so that when I explained to him what I had in mind for the final show – a way of showing lots of drawings in an installation that viewers could walk round, creating different viewpoints and juxtapositions – he thought that I should reconsider. He noted that installations are difficult to pull off well and could easily look ‘last minute’ or a bit of an afterthought. But what surprised me was that he suggested that there was already so much going on in works like these:
that I didn’t need to make the presentation even more complex.
In some ways it would be a relief to concentrate on just making, especially since the drawings are slow to do. Phil suggested that one way to work faster would be to project the pixelated image directly onto the paper, rather than by grinding up the image and then the support. I definitely want to try this, though I think it will work best where the pixels in the drawing are relatively large, 1 cm square, not 4mm square.
He encouraged all of us not only to make new work for the show but to experiment and not worry about the ‘perfect’ result. So I have started a new drawing on a sheet of acetate which was a failed experiment in making an acrylic skin. I don’t know why it didn’t work as I was able to do it successfully, if scrappily, on a small scale. Here is the small-scale trial with some photo transfers embedded in it and a quick pixel drawing on top. Still the larger failed version – where the acrylic wouldn’t peel off the acetate – gives me an opportunity to make a double sided gridded drawing of me and my sister and to play with translucence.