Icon I has now been moved from a work in process to a finished drawing. It is a progression from ideas I had way back with images of trees depicted as entities to be revered, in these times it seems more appropriate than ever. At the time I tried using coloured pencils to create a luminous background but was not happy with the result. Since then I have used gold printmaking colour for my linocuts and had the idea to go back to my thoughts on trees as icons. So in Icon I (which started as a monoprint) the shape of the trees were worked out using the printmaking colour.
So this is a landscape/animal/seed combo – not only can images be manipulated. Boundaries are being challenged – it is easy to fall into an apocalyptic mood. I have been inspired by Patricia Piccinini’s creations although I started my Fur drawings before seeing her work.
Despite their appearance I have some sort of landscape, or landscape/animal combo, in mind when I create my Fur drawings. A bit contradictory then, I admit, to call them Furs but that is what most viewers describe them as. They are in my mind ‘maps’ showing elevations, streams and other landscape features – obviously not urban environments – but what you might possibly find if you’re out for a stroll in an imaginary forest. The red colour is a sign of warning – what will happen if we continue behaving as an invasive species ….
The problem with photographing graphite on paper is that light bounces off the surface making even dark areas look grey and uninteresting. From a group of drawings entitled Being these came out the best. The one on the right though is called Icarus and is my reaction to seeing, in a documentary about free climbing, a climber fall from a great hight almost down to the ground before releasing his parachute. I honestly thought I was going to witness a death. The relief when the parachute opened was immense.
Came across this watercolour/drawing when looking through works that I have at home in Sweden. Although it is part of a large group of ‘fur’-like drawings I like it because its landscape qualities, combined with hints of human/animal bodies, sets it apart from other works. The pools of ‘water’, I think, are quite delicate and seeps into the fur which is undulating, maybe following an underlying mountain range.