Like everything, I have mixed feelings about these flower drawings. Too serious or not serious enough..........but forget that, let's talk about the positives.
I've wanted to get back to some drawing for a while. But drawing is a really open field. And HOW TO DRAW is as big a question as WHAT TO DRAW. I've watched Sir Antony Gormley demonstrate his auto drawing to Lily Cole and I can dig it, but it's not something that interests me. I like Ashley Wood and his easy graphic style. I like old Franklin Booth and the tight faux etching style. I enjoy Nic Plowman's slightly loose life drawings but I'm also enjoying Vince Herrera's controlled line and hatching too. No offence to any of them, but there are millions of exemplars and something to enjoy in them all.
I'm reminded of a couple of ideas I picked up at the BIA from tutors Nameer Davis and David Nixon. Two very different artists but in my opinion, both somewhat focused on rhythm and pattern.
I had the idea of MEMORIAL after reading a little about Ray Kurzweil's Singularity. Call me melodramatic but the end is nigh. Then I spent a bunch of time thinking about how to make sculptural flowers. But as a drawing subject they make a lot more sense. Rhythm and Pattern, a symbol repeated. So what the flowers and leaves has allowed me to do is start in one corner and fill a page, without too much fuss and reference. Like Cezanne's PASSAGE, leaves go from dark to light, dark to light in and endless procession. But no worry about drawing actual leaves, just LEAF LIKE shapes.
And in the words of drawing tutor Mia Clark, all tone is layering. So if you need dark, draw more lines, light, draw fewer. And when you consider my topic Memorial refers to the end of everything, it leaves me free to draw.....anything.