What I noticed during this process is that I started out very linearly (is that a word?) and quickly got bored with the materials and pulled out other materials to try. I used pencil, compressed charcoal, crayon, guouche, ink, pushpins, scissors and a clay scraper.
I started out with line, then squiggly line, then tone, value, back to line, shape...then I started just looking at the flaws on the pear and doing up close images of them. They looked like my aerial view paintings when I finished. I started focusing on the tiny shapes and how they were little dots (you notice alot about a pear when drawing it for two hours), so I started drawing tiny circles and realized- I don't have that kind of patience! Maybe a template... so I found a screen and tried doing a rubbing through it-- too rough, it shredded the materials. Then I thought about the sinopia drawings in Italy and how they poked holes in paper and blotted charcoal dust through to make the outlines for their frescoes. So I poked holes in a paper and tried using it as a stencil. The paper is too thick, so it actually feels like an essay written in Braille. But I like the idea of connecting with the sinopias in a more contemporary way.
I started using ink and watched the way it connected with water and made designs, then I started doing inkblot drawings- reminded me of having to tell what I saw when I was a kid being tested for gifted programs. We also had to remember large series of numbers. Interesting how the memories come back.
I went back to line and form, then into pure design. I played with color and crayon and watercolor. I love to play. It will be interesting to put all of these pears up on a wall and see if they have anything in common. I
I'm noticing that I work loose to tight to loose again. I love playing with design and materials. Here's my self portrait and a sampling of pears... or at least started as pears. They became quite abstract and psychological.
great work!
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