Archive | July, 2013

Drawing, sequence , identity

26 Jul

‘ More  often..a drawing comprises of a network of recorded movements, which tend usually to show in their accumulation, and our appreciation of a drawing like this requires that we retrace these movements, their duration and their accumulation, from evidence they have left behind’ ( 12) , a quote from John Elderfield ,The Drawings of Richard Diebenkorn ( New York, Museum of Modern Art , 1988), p190 in Drawing Distinctions, by Patrick Maynard.

Are there parallels here between drawing and archaeology?

It is, however,  difficult to read a sequential event in a drawing, just as it can be in archaeology, when looking at landscape.

There is sometimes an acknowledgement of this sequential process by the artist;   the artist regognizes and gets to know the way they work, at the same time using the process and also changing it.

This may be described as the acknowledgement of identity , again , are there parallels  with humans , in the past, shaping landscape, being aware of the process and its effects on the viewer ?

ImageDetail, landscape sketch , Miranda Creswell 2013


Detail, Landscape and Cattle , Miranda Creswell 2013

For some landscape artists ,this knowledge of process , is intertwined with numerous reactions to being within a landscape over a period of time :

To noise, to movement , to wind, clouds, trees, insects, water, dust, to changes in light

, to temperature, to personal memory, time, collective memory , a list that could go on.

These reactions, however are not neatly layered on top of each other, they are hidden processes ,unknowns,, the drawing is rubbed out , moved around, made more defined, less defined, constantly changed, until, the drawing feels right, emerges..

The difference here between a drawing and a piece of landscape is that the landscape is , once ‘finished’ then taken over by another hand , or hands, over long periods, short periods, an even more complex problem to unravel and look at..

But , as Gombrich reminds us , that although some artist  react directly to the landscape , in making art works ,

‘ all art originates in the human mind , in our reaction to the world rather than the visible world itself’ (87) EH Gombrich, Art and Illusion.

I might add that art can originate not only from the mind but the  human hand , and arm etc..

ImageWooded landscape with cattle and goats , 1772

Thomas Gainsborough