There is something about this that I like, I’m not sure how I feel about reducing my drawings to a gif. But then I’m not sure it’s reduced them, it’s done something else for me. I wonder where I could take it, and what it means right now.
I think there is an element of strangeness that I like, the transitioning the movement that is somehow honest, it’s not trying to be an animation with a distinct narrative. It’s a broken moment, a haunting, ‘time is out of joint’.
I’m now obsessing which can be a good and a bad thing. The paddle is now a key object, I’m making them in my studio and in my drawings. The tool for navigation, immediate and resides in our hands, yet partners with a craft of some description.
I’ve been listening to Anish Kapoor interviews and reading text as research for y paper - and them there was a brief discussion about making a series of the same object or work can up, and I found it encouraging, to explore an idea - open it up and out. I think I worry that I am just repeating iterations endlessly and that there is no value to it. I am annoined that I feel like I need permission.
The drawings are strangely pleasing for me, I’m connecting with the way the ink bleeds out to granular and the empty negative that it creates.
This particular media I’m using was ironically made by Stuart Smeple in a reaction to Kappor’s Vantablack, it has a quality in its miss use that I especially like. When diluted it has a granular property that separates out into delicious bands of gradients, leaving small tidal marks and tracks. Something deeper in me connects to specific marks, moments. Yet it leaves this gritty feel, like BhaBha’s scalar interstices, the bundle divisable. Collective moments spread across time inconsistently. The bleeding through, the threshold melts, margins fade.
