Between painting and drawing
Drawing presents itself, through its inherent material properties, as an opportunity for the swift documentation of experiences that can simultaneously be developed, challenged, and altered instantaneously. This process leads to the questioning of the difference between a line drawn in pencil or pen and a line similarly drawn in paint. The extent to which the two lines differ in their presentation of linear form,could be related to the speed of application referring to aesthetic perfection, in that the line in pencil stands for greater opportunity for instant perfection than in paint, which may require further material manipulation for success. This leads to question the point at which a line drawn in paint is no longer a drawing and instead becomes a painting, and the moment at which this decision is made. Perhaps drawing is about the use of line, and thus a line drawn in paint captures a moment where drawing has escaped from its tradition,or maybe when the material properties of paint become more significant in terms of colour and of application, that a line drawn in paint becomes part of a painting.
Drawing within my practice forms the opportunity for the instant documentation of an idea, in which the developments document a liberating thought process allowing my imagination to flow from the pen onto paper. As the drawings could be meaningless, they come as an opportunity to experiment with ideas through composition, and to consider possibilities continuously without the care for what is going to be of the drawing. This freedom towards the material and process of drawings presents an interesting and liberating opportunity, one that can be shut away in a sketchbook while a painting does all the talking. However, to consider where the painting would be without a sketch, is not to consider a painting without a plan, but rather it would be to consider a painting without the endless possibilities of what could have been, which are escaped in a single painting, that stands with a final idea and composition. Therefore, drawing provides for me the countless potentials for what an image might become, an instant and simultaneous process that decides what the work could or should be. The drawings are quiet, but they hold an importance beyond what is expected of them.
Drawing provides the starting point for the ideas that develop into paintings through small and yet significant creations of half-imaged worlds that document collisions of both imagination and past experiences to position themselves as moments of possibility, and the capturing of a whole new experience, born from the hope that drawing presents to the image-maker. Why therefore, is my emotional connection to paint greater than to that of pen on paper? It is perhaps because drawing (in fine liner) is unsurprising in terms of its material properties and one’s own expectation of it is always achieved, a line is always made in pen, and when these lines are combined a drawing is formed. Painting puts up a fight, but drawing is a presentation of ease, they never were about the challenge, always about a precise and instant documentation of an idea, experience or experiment and will continue to form a vital moment of exploration and experiment within my practice.