Part 1 Project 1 – Feeling and Expression

Exercise 1.

Already irritated by a day of trying to set up this blog.

Decided to make first experiment “Irritated”, as didn’t need to get into the mood, already there! Sharp jagged lines, quickly made. Further irritated by noise of tool on the paper.

Next tried calm. Found this calming just through process of doing it. Marks smooth and wide and curved. soothing. Noise like the sea, gentle or a soft breeze. not concerned if marks fell off the edge of the paper, as if drifting down. Very light pressure.

Angry similar to irritated in shapes, but closer together, much firmer pressure. Scribbling with force and spite behind the gestures. Noise of tool grating, intrusive.

Joy quick sharp fleeting marks. No sooner on the page than they disappear. Short-lived, transitory. like a sparkle, almost can’t believe it was there. Light pressure sometimes, sometimes more intense but always momentary.




Re: Julie Brixey-Williams’ drawing locationotation at

I need to loosen up more in my approach to the concept of “drawing” as it seems my approach is too narrow. The work had little meaning or impact for me, until I knew how it was produced, and even then, the remoteness of the mechanism of its making gives it a quality of detachment, whilst the process feels contrived. I did not feel any emotion on looking at it. My “thinking brain” rather than my “feeling brain” became engaged in a consideration of the dancers who participated in making the work, and I wondered what, if anything, they felt whilst pirouetting. Did they feel like artists? Can they be considered as artists? If not what are they? Are they like the pen, the stick of charcoal etc.

I follow two local artists Debbie Locke and Sara Dudman who are working on a project “Flocking together”. This is a collaborative venture and entails webcam footage from sheep, the farmer, a webcam flying over a flock, a webcam attached to the sheep dog. the works are built up in layers using the webcam footage translated through a drawing machine, and drawings made by Sara directly from her observations of the animals, their behaviour and their interactions with their environment. The finished works are a composite of many different sources of data. I was going to say that the most meaningful contribution is that made by the artist Sara, who holds the paintbrush or the charcoal and makes the marks, but I think I am wrong. None of it would stand alone. It’s impact results from the process of its composition and all its composite parts.

Debbie Locke RWA and Sara Dudman:


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