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

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.