4 – Layers of skin with latex layers
The detail of the marks and the negative and positive space feel strong. Using the simplicity of mainly one colour but in different ways i.e. pen, brush, . also where the latex has been laid on but the ink has found its way through has expressive simplicity.
Very hesitant moving onto the next layer – very ambivalent feelings of covering, or spoiling the original image. Anxiety around not knowing what is next although I had planned to work through 7 layers of this process. Is it about trying to get through a barrier – or about the endless pressure to “make a nice picture” .
It is the pre-birth with the torso – corseted and the child free floating in the middle. Does the baby have arms here? But the mother remains headless.
Now looking more like a dirtied day/tea literally dress from the Edwardian period with the Suffragette’s banners of BULLDOZE and STUBBORN emblazoned across the chest. The child to the right is almost totally obliterated as a blotch of grey – her facial features non-existent. the pure white of the first layer has been obliterated and have used walnut ink for the detail.
The longer I lived with this more more significant this felt to me. The strong sense of issues being over-layed and over-layered as well as the positive and negative spaces being used. This together with the marking and obliteration of marks – shapes, images, letters, words is beginning to resonate about the fragments of memory real and imagined as well as thinking about that which survives, in terms of photographs and family stories.
Does what is important get remembered, imaged? Or is it totally random?
Moving onto the next layer is again a struggle as I am again emotional about loosing aspects of the drawing as if it is loosing aspects of myself – instead of shedding the layers of skin I am building up the layers of skin/story/camouflage/shell.
This time I am concentrating on the “Mother” body – relaxing back and headless – feet towards the viewer. Across all the examples I wanted to lift the textural quality of the pieces (realising even with the “frottage” (See research Max Ernst) I have not used different textures. Created a monoprint which I uses across most of the sketches
These two monoprints flank the main layering sketch.
Additionally 4 different sketches in the sketchbook working into the texture/around the textures in different ways.
There is a more robust quality to these not only from the texture of the paint itself but the way it does and doesn’t take up the ancillary material. The fight to gain image or not has a visceral reaction
Note to self:- what is the question
Which part of the investigation am I pursuing – what is the next question.