Discerning Eye annual drawing bursary

Territorial SH7154 has been selected for the short list of the David Gluck Memorial Bursary

Territorial SH7154 

I made this drawing from the memory of a specific moment high up on Moel Siabod.

We hear a raven call close by, one is just appearing over the mountain above us, another joins it and they start to circle, are they attracted by the home made black fluffy cover of the Zoom mic I hold up high? Another arrives calling for its mate, the sound amplifies and their circling becomes more threatening. Number three is holding off waiting for its mate who suddenly appears from over the ridge behind us, just as number three comes in for the attack, I hear the rush of air through their huge wings, claws grab, feathers fly as they tumble and twist again and again directly in front of us. Amazing as it is I want them to stop. At last there is a victor and the pairs fly slowly off in opposite directions.

 

I breathe

 

( see page -  The Sound and Sites of Drawing and Walking Unit 3 CP Paper)

 

I am investigating how to process the everyday experience of observation and visual qualities of my surroundings. What elements might remain in memory, connecting and evoking recognition? Sound, fear, movement, terrain...

Through close observation I hope to visually understand the differences between things and investigate how these differences become a constituent of a drawing.

Thinking through drawing, I focus on an unknown particularity, on how each individual encounter might continue to impact on memory. I make quick loose drawings responding to space, volume, mass and sensation The act of drawing takes me elsewhere, to a another place.
http://www.discerningeye.org/bursaries/intro/intro.php
 

 

 

Setting up the MA Show

Private View Thursday 6pm  5.9.13 at Wimbledon College of Art

Snowdonia long drawing 2013

Four day walk drawing - graphite, charcoal, red and grey chalk, carbon pencil on concertina paper
Angle iron table 500 x 27cm and locally sourced wooden tophttp://www.norburyparksawmill.org.uk/viewHistory?select=Sawmill

  

Snowdonia sound drawing 2013

 Thinking and testing out many possibilities of how to present the five speakers in the MA Show. Investigated ridiculously expensive sound domes, considered fashioning some from a mini speaker and bowl, placing speakers on shelves and many other ideas including welding them on top of metal poles but finally realised a humble domestic fire log best fitted the intellectual idea of the exhibition:
 they are appropriate, easily replaceable and links to an unmonumental art philosophy and relevant cultural history.

Sounds are created as I navigate the changing terrain, walking in Snowdonia for four days, my motion is sound and the moments of moving to another place between drawings.

Speakers inform the installation using current technology 5.1 surround sound.

5 firewood logs

Wood is environmentally sourced from a local farm

http://www.sondesplacefarm.com/wood_and_logs.html

 

Drawing from my feet

Art is about recognition, the identification through a continuous act of comparison in what we see, hear, touch. A chance combination can have surprising results and create something new.
Crossing the fine grained sands of a particular Welsh beach, I noticed how the motion of walking is generating an unusual sound. I am wearing thick soled boots, the movement of the fine sand is causing a clear whistle via the two independent substances and activity.

Many years ago I read:
   Joseph Beuys thinks from his knees, his relationship to art was inseparable from his body which he represented through many differing substances, animal and mineral.

In How to explain paintings to a dead hare 1965, Beuys connected a childhood attraction; the presence of something that nobody noticed, together with an intuition of his own history and time. (Art Forum Summer 1991 p.85)

How to explain paintings to a dead hare 1965

(image found in Gardeners Art History Review) 

A moment of pure happenstance

It was exactly this same year my family rescued and nurtured an orphaned hare after seeing his mother killed. Beuys' art is influenced by being rescued and bought back to life by nomadic tribesmen.

Dad and me and Sammy the rescued hare 1965

I walk, I look and occasionally find something unnoticed.

I work from my feet, connecting sounds, motion, terrain. I think through drawing as I focus on an unknown particularity. The act of drawing takes me elsewhere, each individual encounter continues to impact on memory.

  ‘When you give yourself to places, they give you yourself back’.

  Rebecca Solnit in Wanderlust. 2002. London, Verso- p.13 

A continually changing viewpoint cannot be understood by standing still.

Snowdonia long drawing 14  Graphite, charcoal, chalk, carbon pencil Jill Evans 2013

I move a viewer beyond the role of motionless observer in 

Snowdonia long drawing, continuing the process of its making and exploring the role of drawing as a residual object; it is necessary for a viewer to walk to view.

Here its form is dictated by the process of making but its reality is elsewhere in the mind of the observer.

Each viewer has absorbed and carries with them the multitude of differences of place or situation and frequently encounters these through unconscious reflection, they reveal a link to specific place.

In Snowdonia long drawing the constructed table reflects back into history, culture and place, through the materials used and its presence.

Like a good story endlessly retold, changing and gradually developing, I expect this blog and my drawing to continue on beyond the MA.

Sound Drawing

Sounds carry memories, sound evokes images, sound transports thought to another place.

Sound reflects activity, volume, terrain but has no image, no reality of its own.
Sound has presence but remains abstract.
Sound contains space.
Sound completely belongs to the listener alone. It exists nowhere else.

Susan Philipze:
‘ Sound heightens your awareness of the space you are in’. 2010

Sound relates volume, activity and movement, it contains landscape experiences that colour the unknown. We understand through connecting internal topographies of place, sound, image and knowledge. We navigate this terrain, adding and developing endlessly, our cognition is motion sensitive and site specific.

Snowdonia sound drawing - Jill Evans 2013
I record the actual walking experience of place to construct a sound image of terrain and motion.

The five active speakers allow a viewer/listener to choose their own pathway through Snowdonia sound drawing in their personal real time of listening. The viewer/listener passes through and creates an alternative composition to complete the drawing.

Visual sound drawing 

This image is a sound wave formed by the sound activity of making Drawing 3 in real time sitting beside Ffynnon Llugwy reservoir.

 https://soundcloud.com/sound-out-loud/092-1

 Drawing 3 from Snowdonia long drawing Jill Evans 2013

Folded landscape 1 ink on paper Jill Evans 2013

Drip drip drip, each drop combines to form a chance landscape.

Snowdonia Long Drawing construction

Materials for Snowdonia long drawing

• Three 6 metre lengths of 25 x 25ml angle iron
• 4 metres of sustainable wood
• Four day walk drawing - pencil, charcoal, red and grey chalk, carbon pencil

Task 1. Measure, cut, file, drill, weld and construct table - H. 80cm x L. 400cm x W. 27cm

 

Task 2. Source sustainable wood, prepare, cut and fit
After hunting through reclamation yards, ebay and wood recycling projects I remember:

Norbury Park sawmill collects wood from the site of Druids Grove (detail below) and Along across, around and about the River Mole long drawing. 

  



detail TQ 15807 53205 2013



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



Ancient Yew 2013

 

 

 

This local sawmill uses oak, pine and other soft woods from the area of these walks and Surrey Wildlife Trust's own sites. In many cases these are heathlands where Scots pine is being removed for the revival of threatened wildlife, perfect.

 

 

 

The sound and sites of drawing and walking

Distant England, cover image

Introduction

In the following words I shall tell the story of walking in Snowdonia over a four day stay in Capel Curig. I set off with clear intentions to experience walking in this remote landscape with the possibility of a diversion into somewhere unknown or a chance occurrence. As I move through this terrain I will look, listen, notice, respond, connect and explore the impact of walking, drawing and memory. I will examine how drawing might enquire and communicate the little differences I find that could reveal a link to specific place.

As I travel along this path I will be discussing my reasoning and purpose in more detail through a gradual expansion into a wider culture, returning with knowledge of elsewhere.

Soren Kierkegaard goes for a wander at the optimum pedestrian pace of three miles per hour he considers this to be the speed the mind functions well at.

But unlike Kierkegaard being ‘so overwhelmed with ideas he could scarcely walk’
I hope to bring this story back to the individual reader.

To continue reading see pages - The sound and sites of walking and drawing

Walk On, passing through an exhibition

Exhibition - Walk On: 40 years of Art Walking, Pitzhanger Manor House

The Walk Book and CD, Janet Cardiff, 2005. Walks in Paris, London, and New York.

I am sitting on a park bench in Ealing and switch on Janet Cardiff’s narrative. Instantly I am connected to her reality, she is sitting on a park bench, in the very different urban environment of Central Park, New York. She describes children on bikes passing by and exactly at the same moment children cycle past me, here in London. I listen to more descriptions but wander off in my mind as a cat has just approached and a group of people gather round to stroke it. A choir is practising: she explains’ I am very bad at linear working; I use an open ended narrative, skipping from one thing to another’. I listen to more fragments as she passes through the streets of New York and begins to distinguish memory from perception. ‘In pure memory the temporal sequence of events is shattered’. I agree with that but start to lose interest. No longer able to connect to her continuing observations, I realise that listening to this narrative is displacing me from being here, now. Police sirens pass in the distance, was it here, or there in Central Park? 

Janet Cardiff would like to ‘move a whole room like a time machine from London to New York’. I think she just moved a park.

Simon Pope, A Common Third

We meet walking artist Simon Pope, we cross the park and chat without really noticing what's around. He escorted us out of the park as his contribution in 'Walk On'. We re-enter and admire the blossom and trees on the way back. We sit at the kiosk, eat ice cream and people watch.

Walking and Drawing in Snowdonia

Four days, walking and drawing on remote mountains in Snowdonia, focusing on the rhythmic sound of walking and sounds of the surrounding landscape through the Zoom mic headphones. I first notice how easily I climb the steep gradient to the lake, listening has changed the emphasis, drawing attention away from the usual dominant visual clues of distance. Walking in silence with a new focus on listening has created a different atmosphere and altered my experience of the landscape. Confusingly, it has become internalised and at the same time a vaster space. It is quiet, sounds are distant, the mist occasionally lifts over the ridge and sun glints through from behind it. I stop and draw at a rest point

Up towards lake

My focus shifts; switching from listening to seeing, the steep incline of the path becomes more physical, more demanding. By focusing on the rhythm of walking I hadn't noticed how quickly I gained height, the remote mountain ridge now dominates. I try to respond with quick drawings of the ever changing mists that cover and uncover the varied contours ahead. I recognise Turner’s problems and how he used the advantages of a misty effect to accentuate distance in his work, confusing altering and denying form he develops his idea with and in the mist. His structures do not merely describe what is underneath it.

Walter Thombury, The Life and Correspondence of JMW Turner

 

Drawn from the National Gallery- pencil on small sketch book Jill Evans

 

 

 

 

Drawn on Site exhibition

Skirting it

Skirting it, inside the shop, following around the joint between floor and wall until it becomes a drawn line that outlines the edge of this space. Draw and move on, draw again, changing position changes viewpoint, passing an object alters its position, the room moves around me. I apply rules to the drawing - draw everything below this line, mapping all shapes that interrupt it. Objects that intersect this outline now become part of the floor plan. The rules are difficult to follow, I must switch thinking, cutting out the brains overriding recognition factor of pre learnt understanding. Objects and floor resettle, transferring onto a single visual plane. The necessary analysis, makes an interesting drawing exercise on pure observation, helping to understand this visual switch. Changing the rules, as you now control the way your brain sees and makes connections.

Draped drawing - time is connected to distance.

Ceiling pipe

Alison Carlier's impressed lines on paper

Skirting it, five corners

Passing By

Drawn on Site

I have been given the opportunity to take over an empty shop for a one week drawing residency. Invited by Transition Dorking, a voluntary, environmental group I will be drawing on site in the shop throughout the week with Alison, another MA Drawing student. We have decided to make work directly in response to our surroundings, passers-by will be able to pop in and see how the work progresses, hopefully it will.

Day 1.

Wondering how to make drawings, surrounded by these bizarre silver striped interior walls and feeling awkward drawing alone in here with my back to the open door. Eventually I made a word piece called Passing By.

Passing by

Trolley and two green carriers
White bag tucked under his arm
Tweed and a book
Blue waterproof and orange carrier
White stripes and blue backpack
Striding and swinging shopping
Red top and black briefcase
No-one
Blue raffia and rolled mat
Grey hair and green mac
Two up, two down
All black with checked scarf
Blue and blue stripes
Green bag, brown bag
Two matching apple green macs
Long mac and white carrier
Small boy swinging shopping
Two in black with one bright green carrier
Chatting ladies and shopping trollies
Three carriers and a grey jacket
Clattering shoes, swinging a bag
Pushing mobility trolley, slowly
Quickly, two large boxes on his shoulder
Return of red top with two new bags
Black coat and large white paper carrier
Two together, red cotton bag between
All in black with papers and huge black bag
Turquoise legs
Pink legs
Two brown coats and two sticks
Speedy, spotty trolley
Traffic sounds
Two pass quickly, big strides
Plastic covered pushchair, purple coat pushing
Four up, one down
All brown, hood up
White ear phones, white bag
Balanced orange carriers, striding
Small in pink passing zebra umbrella
Slow walk, swinging wide cotton bag
Three under one large black umbrella
Red top, grey shorts… postman
Two, woolly hoods up
Four down, mostly in green

  Thursday's drawings

Friday, We are both surprised and excited in the direction the drawing has taken, just curated the show for tomorrow. 

Chronology of Walking

See new walking chronology on 'Pages' 

Worms Head view 5.8.2004 Jill Evans

I have added this list of some of the places I recall walking, each has some significance to my drawing . As memories reappear I will add them, it’s more or less in chronological order.

Installed in the National Gallery

Installing TQ 15807 53205 - Charcoal on paper Approx 82cm wide x 200cm long. 2013

Drawn after walking, noticing, connecting, differences on a local walk.

Writing and drawing connections

Drawing connections and my written paper.

Residue of differences

Charcoal on paper 

An array of left behind fragments relating to places I have noticed, lingered, paused and taken interest in - physicality of angle, slope, drop, gravity, space, structure or incidental aspect that catches my attention.The investigation and marks reflect a direct experience recalled, or recorded.

13 desiccated sparrows found in an unused woodburner, each frozen pose delicate and beautiful, requires critical observation. 





Shell drawing for Mum
She found this large, old and battered shell abandoned on waste ground, next to a grave yard many years ago and has always treasured it. After visiting Tracey Emin's She Lay Down Deep Beneath the Sea at Margate; I had a go with Emin's free blue wax crayon, the perfect drawing implement for this shell.
Here the rhythms and flow, echo Emin's loosely drawn figures . Blue appropriately connects shell and sea.


Gibbets Hill, Hindhead
These small quickly drawn rhythms in pencil describe this huge space. 
Turner walked and sketched here making many fleeting pencil drawings about the distant space, a subject he worked with throughout his life.                                 

A friend handed on these animal skulls, drawn here using a 60cm extended pencil, less control changes qualities of mark. The challenges in this method of drawing enticed visitors to have a go at my Summer Open Studio, the difficulties of making the drawing from a distance cancelled the fear of failure as expectations were low and skills of precision drawing unnecessary. A surprising number of visitors joined in and had a go, initially finding control of the pencil at distance, difficult but quickly discovering an alternative method to  achieve an interesting mark.