On route to the Outer Skerries, charcoal, chalk and graphite on cartridge paper, 48"x60"approx
The large drawings I’m now making are based on experiences of travelling in various small boats and ferries in force 8 - even force 9 winds. Drawing whilst clinging onto the side of a boat in the middle of a heavy sea, and feeling sick, is a very different proposition to being on cliffs and rocks looking at the sea, even if it is blowing a gale. Surrounded by a living mass of water – by movement and sound; the horizon disappearing and reappearing, fear and exhilaration are simultaneously experienced. This is an experience of the sublime. And I realize that such experiences have affected the way I’m now making drawings and paintings. So too have the discussions oceanographers – to play with computer satellite weather programmes looking down through layers of cloud and wind to animated sea surfaces, to encounter terms such as ‘fetch’, and ‘confused sea’ and begin to understand the formation of waves, and their impact on ships and oil rigs – has made me far more aware of the dynamics and complexity of sea. In the course of making the drawings I realize that my attention has been drawn to the complexity of the surface of the sea; there’s a greater concern to draw the movement and flow of waves against each other.
The large drawings I’m now making are based on experiences of travelling in various small boats and ferries in force 8 - even force 9 winds. Drawing whilst clinging onto the side of a boat in the middle of a heavy sea, and feeling sick, is a very different proposition to being on cliffs and rocks looking at the sea, even if it is blowing a gale. Surrounded by a living mass of water – by movement and sound; the horizon disappearing and reappearing, fear and exhilaration are simultaneously experienced. This is an experience of the sublime. And I realize that such experiences have affected the way I’m now making drawings and paintings. So too have the discussions oceanographers – to play with computer satellite weather programmes looking down through layers of cloud and wind to animated sea surfaces, to encounter terms such as ‘fetch’, and ‘confused sea’ and begin to understand the formation of waves, and their impact on ships and oil rigs – has made me far more aware of the dynamics and complexity of sea. In the course of making the drawings I realize that my attention has been drawn to the complexity of the surface of the sea; there’s a greater concern to draw the movement and flow of waves against each other.
These drawings will be shown at the Bonhoga Gallery on Shetland from June 25th – August 9th.
The poet Laura Friedlander who accompanied me on a wild ferry trip to the Outer Skerries, wrote this poem as a response to my drawing. She has kindly agreed to let me publish it on my blog.
CHARCOAL AND GREY
I will draw a line here
like charcoal
where black sky
meets grey sea
or a reverse
blended with oil sticks
and messy memories
fingers curled into the waves
I see the sea
coming at me
the shore tugging at my feet
And fathoms
that I fight against
never to go under
I am waiting for time
While times waits for me
before I draw the line
and wash the sea across this page
Laura Friedlander (Scalloway/Skerries, October 2010)
Love it.
ReplyDeleteI never found it possible to quite describe the sheer force and immense size of the sea, to someone who has not been there in her furry.
It humbles you.
Thanks Inge. Really need to see the drawings the right size - they don't really 'do it' on a small screen.
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