I have completed the second series of egyptian waters. The first series point of reference was the shoreline. These new drawings series two come from the area beyond swimmers.
I have tentative titles for the ten drawings 5 of which will go to Oregon for Art in the Information Age in opening in September.
waiting for a wave
nearer the shoreline
stay in the boat [tentative]
The Egyptian waters series is one of the few situations where I am seated when I draw. They require an immaculately clean space to work in. The pens require enough ink to complete the drawing without any waste. It is drawing of an exacting posture and state of mind.
It takes a considerable amount of time to prepare the area where I will draw. The table is emptied of everything, every tool and scrap of paper. The table is wiped down three times and the tools are cleaned. Then the paper is laid and the simple grid is drawn in pencil.
It was 9 am and already 82° when I headed out to my studio sunday morning. It's a two mile walk or so. I usually break it up with a stop for a cup of coffee or breakfast on the way.
This sunday Margaret walked with me to Philadelphia Java Company. We had coffee, tea, and some breakfast buns and I ordered a sandwich for lunch. It was a refreshing stop — I headed the rest of the way to my studio alone. The sun was beating down on South Philly a place bereft of trees and almost impossible to find a sliver of shade.
I always carry a camera and a sketchbook. Sometimes I carry a set of colored pencils or aqua pencils and a water brush. These are a few small pieces done by the seaside last fall. I was revisiting them since I have been working on a new series of egyptian waters.
I'm doing sketches like this now by the riverside. Experiencing the rhythms and light.
I've been back to working on these drawings. They are a spring place that I hold in my head. I have imagined them blooming by April. Then again the rhythm of the seasons has been disturbed on this crazy planet so I'm not really sure what will take place. I do know that the days are getting longer. That makes the possibility for growth in all living things.
Today I'm in the studio early and they are my world.
When the winter comes the long hours of darkness bring an additional chill. Each winter my drawings look for the light. Drawing that embrace the chill. Each year I toy with the idea of creating illuminated drawings.
This year I have begun seriously making some three dimensional models to determine what kind of papers I'll need to sustain the shapes that I want. What translucency sheets provide for particular lighting options.
My goal is to fill a space with these lanterns of a kind that a scribed and marked with a vocabulary of inked marks and scratches.
This is one of a new series I'm working on. There are six drawings in all. I'm currently working on three.
These are the fruits of an all day session for thanksgiving. I was in the studio from 8:30 am until 7 pm. I am greatful for my fabulous studio and the time I have to make work there.
These are large drawings over 20 x 30 actual drawing space. These size take many all day sessions with periods of rest in between. It often takes me a month to finish one.
Four new works in progress. The first drawings in the new studio. Very close to finished. I needed to step away for a bit. Excited to be productive in the new space.
These are drawings on black paper. They started with a grid and a layer of colored pencil first. Many soft pastel marks. No erasing as usual - just obliteration. Not really sure where the red came from. I think the paper was really calling for the energy.
(I need to fix these links click and see them full size)