My key takeaway from this exercise is how pleasing the delicacy of the shading is when holding the pencil at the tip.
The physically of using my shoulder was interesting as I had never tried this before. My nervousness of drawing again leads me to often work on very small paper and just using my hands and fingers to draw in a very precise way so this is quite a change! I was happy to let the charcoal jump across the page to see what happens, noting that seeing can be both what happens on the page in the process of drawing and whether anything recognisable or appealing has happened by the end of the exercise.
In response to this exercise I research Rachel Evans and was interested to note how how recording her work as it being made using photos and video is becoming work in its own right.
Beginning my course made me wonder whether any artists from Essex have gained particular recognition, not least given the county’s recent history of being ridiculed for its stereotypical mindless Essex girls and chavs.
The Spectator reviewed an exhibition with this online piece, The only art is Essex. The article states, “From the early 1930s to the 1960s there was an informal artist’s colony in the north of the county, centred on the village of Great Bardfield. It included, among others, Bawden…Eric Ravilious…plus the painters John Aldridge, Michael Rothenstein, Sheila Robinson and Walter Hoyle”. Grayson Perry lived there as a teenager.
Additionally Cedric Morris had an art school at Dedham which was attended by the teenaged Lucian Freud. The article also refers to John Wonnacott’s Thames estuary landscapes.
I am excited to see there are a number of local artists whose work I can explore and I will include links to further posts exploring their artists work in due course. When completing my course work for Part 1 I was surprised how my local landscape was subliminally finding its way into my work. There are many pylons in the fields near to my house and my post about the coursework for ‘Using the body’ will explore this further.