Monthly Archives: March 2017

Artist’s profile: Elisabeth Couloigner

Boredom inspires all sorts of creativity, and so it was that I came across this French artist while idly browsing pinterest boards. I saw a number of images which were heavy in calligraphic forms and gestural lines, so looked into her a little more. She describes her practice as an exploration of the material and composition of the space offered by the medium – as an emotional and suggestive language.

“Above all, and always, there is the look at the world around, the precise listening to perceptions that question physical reality and sensuous reality. Playing with ladders, identifying analogies, making matches. 

Observe the outside world, and learn about its inner world. Confront the two in the formal game of composition. Coexist. Separate and bind, establish passages, breaches, ascensional movements, lines of communication, areas of interaction. Gather reassemble fragments and unify them into a harmonious whole. Use imbalances to create new balances. Transpose, extract, sublimate. Then, give a concrete existence to perceptions, transpose them. Shaping optical relief, giving sensoriality to matter.”

Many of her works are pure explorations of composition through material textures, line and colours. These are a selection of pages from ongoing work in sketchbooks, “I’m Searching”.

As well as the rich painted backgrounds, she also has a few more open, more heavily calligraphic works, which I very much liked, and reminded me a little of mine…

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Weaving with ink

I’ve been continue to work on my calligraphic drawings, building on the ideas around expression through handwriting and gesture that I was exploring last year. I am enjoying working with a range of different inks and papers, looking for what combinations give the quality of line I want. I started with some busy sketchbook work which combined my different key elements – the calligraphic gesture, fluid movements, strong lines and layering – with different types of asemic writing and background colour.

The first sketches had some very interesting textures but were a little busy and overloaded in places. I worked with different types of cartridge paper and watercolour paper and although the watercolour paper gave a nicer colour range (left below), the rough texture of the paper detracts from the precision lines I was aiming for.

I took the key textures I liked and started to pair down and tighten up the drawing, focussing on getting a stronger expression of movement but keeping just a small colour palette for each one.

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I have been continuing to explore this series of gestures over the last week, with different open-ness or opacity to the drawings. I like the vibrancy and the movement which they capture, and this series doesn’t need the specific visible ‘writing’ of my earlier sketches – it is all about the gestures. I have also found both new brands of paper and ink which are giving very pleasing results – working towards a finished series of pieces which I can look to get properly mounted.

So far, this is my favourite finished piece:

 

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Artist’s profile: Yukimi Annand

I’ve been looking back at some of the calligraphers who inspire me to see what I can learn from their ways of working and use of materials. The first one who came to the top was Yukimi Annand. She works on a mixture of traditional calligraphy, textural art and books; her works are often clearly based on the shapes of the Roman hand and various mark making and textures from the natural world. Her current work is starting to look at eastern calligraphic techniques and abstract expressionism. I like best the pieces which have a stillness to them, yet still capture the vibrancy of her expressions. As I am still so focused on asemic writing, I’m not that bothered by the ones which you can read…

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I really like her book works, which combine a series of drawings into a beautifully bound narrative. This is definitely something I would like to work towards creating with some resolved work and/or a series of experiments.

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Yukimi also runs workshops regularly, sadly only in the US (as far as I can see, no visits to London). This extract came from a blog on one of her classes on exercises for the students. A great idea which I think I will do as a practice:

“Yukimi had us put random marks or text on black Arches cover stock using a small squeeze bottle filled with Golden white acrylic paint with fine metal tips. We used a 3” wide piece of balsa wood to make patterns using sumi ink on inexpensive hanshi rice paper. These were left to dry overnight and then sealed together with diluted Golden brand matte medium, which resulted in wonderful patterns and shades of gray. These  were turned into little 2”X2” masterpieces attached to cards.”

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Playing with asemics

I have been slowly working on another piece of map weaving, based on experiments I did last February. 12 months ago already! I started in the new year, and have been struggling to get motivated to get it finished – it is a meticulous and laborious process of cutting, twisting and twining. Right now I am not enjoying the process as much as I did last summer – it’s just not speaking to where I am right now. What I keep coming back to instead are two older drawing themes: 1) working with stream of consciousness poetry and asemic text and 2) the ideas of anachronism (feeling out of place). I start drawing to warm up the creative juices and don’t ever get around to doing the weaving.

One of the key things my MA study showed me is that I believe art must come from your self, not your head. I’m not going to spend time developing something ‘just because it might sell’. I don’t need to get money from my art (I am going back to work in an office). Instead, I want to freedom to express the things I want to in the way that I want to. At the moment, this is through pen and ink.

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My current fixation is back on playing with layering of fragments of poetry, using a range of different media to experiment with the textures and quality of the pigment.

I would like to turn these experiments into a series of different textures expressing different aspects of my poetry. Should I use of specific poem, or just the fragments which resonate at the time? I’ve never worked on properly resolving a drawing project before, so this will be an interesting adventure.

I’m also working on a sketchbook writings project – looking at creating a stream of consciousness piece every day (or at least most days….), playing with the expression of mood through the calligraphic form. Yesterday’s poem was a bit like the weather:

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It’s nice to be back at the drawing table.