clay/indian ink/watercolour/coloured pencil
This piece was a collaborative project with Audrey.
I had salvaged some clay from a previous work, soaking it in water and intending to reconstitue it, however, through the summer the water had become stagnant smelling and one day I smeared a prepared canvas with this clay slurry and spent a couple of hours playing with tactile sensations and surface. The clay as earth, debased and low is a powerful operation. Allowing it to dry out and crack seemed to provide an accelerated hyper-geological experience and a matrix for further mark making.
In retrospect it all seems like plain sailing. Once again a capacity for perseverance furthered the process of getting ink into the cracks and then scraping off the cracked clay ( now covered in seductive paint splatters)..into the bin.
The grid imposed over the hypergeo-topographical matrix continues a theme of binary tension between the hard edged cartesian grid and the gestural and nebulous. The use of muted color operates as illumination and warmth, possibly encouraging a human view upon what is in essence limited, hidden and desolate. I think the pattern of the grid operates as a magnification device which increases the ‘intelligence’of the viewer, the one who sees the elaborated pattern previously not seen.
I think this revelatory process is by product of collaboration which comes from taking on transferred hard data and acting upon it albeit from a limited ‘otherness’, accepting the package so to speak and moving it on to god-knows-where. Not to be underestimated as motor.