I had been over a few times to walk around the park and enjoyed the Kaws exhibition but I had not managed to find time to get up to the Long Gallery or do some sketching. Just before it closed I managed to squeeze 4 hours in and was not disappointed.
These are a fairly typical approach to drawing that I have when I go gallery drawing, I always try to take one sensible pencil case but always end up with at least 3. I then love to sit on the floor and draw what comes to me which may or may not include signs of what i am actually looking at. They are often a hybrid of forms or / and paintings.
In the case of the Kaws exhibition, the drawings are quite suggestive of it with the silhouettes and crosses for eyes. I keep a drawing blog [although not so much this past 18 months] and I went through a phase of about a year when a lot of drawings featured a great big X through them [often in pink or red]. https://drawing.me.uk/
KAWS at YSP Study 1. Pen, ink, pencil on paper. [Perren, 2016]
KAWS at YSP Study 2. Pen, ink, pencil on paper. [Perren, 2016]
KAWS at YSP Study 3. Pen, ink, pencil on paper. [Perren, 2016]
KAWS at YSP Study 4. Pen, ink, pencil on paper. [Perren, 2016]
KAWS at YSP Study 5. Pen, ink, pencil on paper. [Perren, 2016]
I often think of my drawings as being fairly colorful, sitting with the KAWS work made me think otherwise – rather dull.
OBAMA – Seattle’s Official Bad Art Museum of America.
The layout of the space allows the work to be considered in a more appropriate context according to Knott (OBAMA) does revel in the otherness of amateur painting, but its methods of display – with canvases hung above cafe booths within an environment of heady Americana – might offer a more sympathetic contextual setting for such work. P40
There are a number of things that I associate [as do others] with perhaps typical hobby outcomes. Cross stitch is one such craft and it felt appropriate that I should explore this further. Like a lot [if not all] of the textiles I make, I consider them as drawing. if not a direct observation of something I see, it is an action that takes time and consideration as it creates marks on a surface.
I have done a number of samples that include cross stitch but have not been able to find the focus or stamina to follow a pre-printed edition. Instead I tend to stitch intuitively although [as can be seen in this sample], I may draw some guidelines for shapes on the ground first.
I have an on/off interest in exploring form in a real sense i.e. I love to draw from it and am more than happy to spend a day at The Yorkshire Sculpture Park [YSP] which is just 20 minutes away from my house BUT, I tend to not follow it through with making. I am keen to expand this into practice and have started to explore paper clay.
I have been developing drawings that allow me to consider geometric shapes and perhaps found objects. Possibly for small totem like structures…
When it come to textiles, for the last few months the focus has been on quilting. I’m quite happy with this but as a mum I often find myself at locations waiting for one of my daughters, quilts are not exactly portable so I have used the time to explore textiles in other ways in more bite size pieces. Much like the amateur knitter sitting at the side of the local pool, I found myself doing some embroidery [although I would consider them to be drawings].
These samples have again allowed me to engage with a slowness of pace in working and the ability to use time in a manner that I could have some autonomy. I believe these approaches to stitch might be worth further development with regards to narrative and materiality.
Working over a frame or on a machine can cause physical pains in your arms and back, after an hour or 5 you find yourself having to get up and stretch and are incredibly aware of the force of labour.
Upon review of some of the photographs I was taking during the quilting case study I found further clarity of this experience and decided to start observing the form as a mode to express notions of active [slow] labour.
Hunched Forms. [Perren, 2015]
Concentration [Perren, 2015]
I created a series of about 20 drawings of these shapes and attempted to capture both the slowness and repetitive action that was being carried out. I don’t believe I quite captured it but I am keen on developing this perhaps at a later stage. It was created using a layout pad, I enjoy being able to see through from one drawing to the next.
Hunch Study 1, Pen on Layout Paper, 50 x 30 cm. [Perren, 2015]
Hunch Study 2, Pen on Layout Paper, 50 x 30 cm. [Perren, 2015]
Hunch Study 3, Pen on Layout Paper, 50 x 30 cm. [Perren, 2015]
Hunch Study 4, Pen on Layout Paper, 50 x 30 cm. [Perren, 2015]
Hunch Study 5, Pen on Layout Paper, 50 x 30 cm. [Perren, 2015]
As a development, I began to explore a range of stuffed forms and explored laying 2d work out that suggested form.
Stuffed Hunched Form. Cotton and stuffing, 34 x 27 inches [Perren, 2015]
Stuffed Hunched Form: detail. [Perren, 2015]
Study of form with a flat quilt. Cotton and plastic box. [Perren, 2015]