Lines and Edges

Ink and charcoal feature predominantly in this folio of work, observing the linear qualities of chosen textiles. Torn paper varying the surfaces used. Their shape considered when rendering the materials and linear qualities.

Drawing with PVA glue creating a very loose but confident result, due to the lack of control, holding the bottle up high and drawing with the trailing glue. Ink pigment dusted over the wet glue, mixed in, creating a dark line when dry.

Prints were also produced from this to create further pieces, different again. Kitchen paper proved an interesting surface for this when mounted on paper for support.

Electronic eraser removing marks on a charcoal surface created the effect of yarn – running stitch – a sense of movement achieved – life – continual – the suggestion of “less is more.” Your eye filling in the gaps. Building up layers.

Attempts at continuous drawing and drawing with eyes closed, elements incorporated into drawings, I don’t feel to be the areas of greatest strength, but to loosen up by standing further way from the paper and manipulating mark making with different tools proved particularly successful.

Using elements of drawings to create further drawings through tearing and manipulating those pieces, I have found to be liberating and the process has opened my mind to other possibilities. The main concern was the risk of overworking the drawings, this is where the printing and tearing was so successful. Creating new images without overworking, taking elements lacking in strength and developing them, adding to the folio.

On reflection, having incorporated tearing into all three folios so far, to revisit this technique too often could be to the detriment of my work. Although a requirement of collage, I will consider different techniques going forward.

Drawing with alternate hands to create a linear drawing with graphite pencil, my eyes closed for part of the process, suggests the stranding and repetitive quality of the fairisle reverse. I feel this to be the weakest piece. It has many qualities transferable into stitch, has considerable energy, but lacking in strength.

The shiny quality of the PVA glue drawings and the separating of the black ink pigments are two of the most favoured effects achieved. Equally the rendering of the double ribbed stitch with thick willow charcoal and a household brush, simple but most effective with countless stitch potential when observed both from a distance and up close. Great sense of depth achieved.


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