James Brown
Four sketchbook
pages:
“Murry Upper”, 1994
“Palmetum”, 1994
“The Strand”,
1994
“Tractor Shed,
Cardwell”, 1994
Pencil (and gouache
in the last drawing) on wove (bond) sketchbook pages
Size of each
page: 27.5 x 21 cm
Reflecting on
sketchbook drawings from over thirty years ago sheds light on the evolution of
my artistic practice. One prominent aspect that remains unchanged is my use of
hatching to explore the form of my subject and its spatial placement through a
delicate network of small marks. This technique continues to define my work,
allowing me to tap into those initial moments of creation, as I sought to
uncover the subject hidden within the white of the paper.
Interestingly,
my approach has transformed, much like a sculptor using a scutch chisel to
initially "rough out" the essence of a form before meticulously
refining it. Perhaps the most significant change lies in the lines themselves.
Looking back, it's evident that I was grappling with the act of drawing. The
lines I produced then feel somewhat mechanical, as if they were more focused on
conveying ideas than on a genuine engagement with the subjects.
Take, for
example, my drawing of the forest at Murray Upper. The central concept revolved
around creating subtle tonal accents through rapidly layered strokes,
particularly at the transition between the silhouette of a tree and its
surrounding environment. While that interest remains vivid today, my current
marks embody a quieter delicacy and a calligraphic flow that is instinctual and
unmediated. Each stroke is now guided by an intuitive understanding of what is
needed, reflecting a deeper, more organic connection to the act of drawing
itself.
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