At Arm's Length and Up Close.
At Arm's Length and Up Close.
An early issue that has arisen in the making of this work is that the change in paper format does not have the same impact as the scrolls that I had used in previous works, there is less of a sense of flow to the work which the scroll format provides and therefore the sense of process and duration is weakened. The scale also limits the use of greater gestural marks which I should be allowing myself to experience, there is a certain amount of claustraphobia or restraint which I really need to try and get away from.
On the other hand the paper being used has opened up a new consideration, due to the quality of the paper at the start of the process, where there are already various creases, I have not been as precious as I may have otherwise been if the paper was pristine. I have continually moved the paper as it has been worked on, I have hung and unhung it, rolled and unrolled it. This movement has had a clear effect on it, for example, the corners have broken down and I have had to patch tears, this destructiveness/entropy has caused the paper to no longer be just a surface, instead it is actively part of the drawing process.
Starting Point:
Bingo Marker Pressed at top of surface,
allowing ink to drip down the page,
stopping at the bottom of the paper.
Patrick Milsom
2015
Starting Point: At Arm's Length and Up Close.
Video
As with the Scroll piece The first mark of the drawing process is presented and documented through video. This recording is to communicate the demystified process of the drawing. To a certain extent this action is almost arbitrary, this is reflected in the quality of the video, the mark is made by a controlled chance, an action that is decided upon but the outcome is allowed to occur without any interruption. The quality of the paper, with its folds and creases effect the flow of the ink and direct its trajectory down the paper. the surface is intrinsically involved with the materials that are applied to it.
The decision to make the starting point overtly visible is a response to comments made during the Show and Listen event, where I presented the scroll piece. That questioned the role of the video and the difficulty to see the mark made in the video on the scroll itself. The decision to use such a strong and permanent colour that is present through out the process of the drawing process is a response to the starting point material experiments, I had failed to really make much of the visibility of the actual first mark in these experiments except for Starting Point 1.
With this drawing I have decided to depart slightly from the use of graphite and ink pens, inspired by the flowing red ink of the bingo marker I am using liquid ink applied with a paint brush, this allows for a greater element of chance each time a mark is made. As each mark has a greater unpredictability there may be a greater potential for an unexpected outcome.
Patrick Milsom
2015
At Arm's Length and Upclose (10/4/15)
Ink and Graphite on Paper
An early issue that has arisen in the making of this work is that the change in paper format does not have the same impact as the scrolls that I had used in previous works, there is less of a sense of flow to the work which the scroll format provides and therefore the sense of process and duration is weakened. The scale also limits the use of greater gestural marks which I should be allowing myself to experience, there is a certain amount of claustraphobia or restraint which I really need to try and get away from.
On the other hand the paper being used has opened up a new consideration, due to the quality of the paper at the start of the process, where there are already various creases, I have not been as precious as I may have otherwise been if the paper was pristine. I have continually moved the paper as it has been worked on, I have hung and unhung it, rolled and unrolled it. This movement has had a clear effect on it, for example, the corners have broken down and I have had to patch tears, this destructiveness/entropy has caused the paper to no longer be just a surface, instead it is actively part of the drawing process.
Patrick Milsom
2015
At Arm's Length and Up Close (25/6/15)
Ink, Water Colour, Pastel and Graphite on Paper
Patrick Milsom
2015
At Arm's Length and Up Close (25/6/15) Back
Ink, Water Colours, Pastel and Ink on Paper
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