I’ve spent time in my studio this weekend reading, listening to dreamy music by Max Richter, and working on a particular sketchbook I’m making at the moment.
The dreamy music helps me to achieve a state of flow, which in turn informs the work on the pages. When something unexpected happens I find myself simply observing and allowing things to develop. I’m using water soluble graphite on gesso on a brown kraft paper book. I brush and scrape the gesso thinly onto the page; the graphite diffuses and flows and blurs as I spray it.
I am going through a phase of collecting interesting phrases, picked out like shiny treasures from the books and papers I read. The sketchbook I’m working on at the moment, which contains variations on the gesso and graphite, has attached itself to the phrase ‘transformational landscapes’, a phrase I found in a paper entitled ‘Threshold Concepts and Troublesome Knowledge (2): Epistemological considerations and a conceptual framework for teaching and learning’ by Jan H.F Meyer and Ray Land. The phrases I find please me. I turn them over in my mind like a child turning over smooth pebbles on the beach, cupping them in my hand, weighing them and feeling their shape and smoothness. I list them in my notebook. A treasure trove.
I’m currently interested in other-handedness; partly to do with a persistently troublesome elbow on my dominant side; partly because working with my non-dominant hand forces me to relinquish control and allow things to develop as they will. The sketchbook has been executed almost entirely with my left (non-dominant) hand.
I’m not sure how all these threads tie together – or rather, I’m not sure I can articulate it; in my mind it all makes perfect sense.