Drawing interests me as there is a truth to the act of mark-making with simple materials. There is no hiding place with drawing as there are with other mediums like painting, where mistakes can be painted out or painted over. When I draw, every decision taken, every mark made and even erased marks leave an impression on the surface of the paper, wall or floor for the viewer to see. Drawing lends itself to an ‘unfinished’ outcome.
My current work revolves around creating large-scale drawings of a childhood doll. The drawings are a back-portrait view of the doll, which aims to subvert the traditional front viewpoint of portraits by firmly placing ‘the gaze’ with the viewer of the artwork. The viewer may feel a sense of unease as they are looking at a childlike figure who is unaware of being observed.
My methods focus upon the processes of looking, thinking and drawing. I use a monochromatic palette and traditional media such as, graphite, charcoal, pen, cartridge paper as well as non-traditional mark-making tools such as a dressmaker’s tracing wheel. I use a process of layering by drawing on the surface of the paper, which is carbon copied underneath onto paper, with a further blind carbon copy onto the wall or floor. These simultaneous drawings aim to create a visual leitmotif that connects themes of time, memory and portraiture of representational figures. The copy, drawn on the fabric of a building, also seals a site specificity that links with the theme of location and memory.
Influential artists are Robert Longo who works with large-scale isolated figures and Tracey Emin who uses drawings to explore memory and time.