A Summary of Work…

It’s been a while since I last posted anything on here. That’s not because I’ve nothing to say, but because I’ve been busy with all sorts of stuff. I thought I’d take a few minutes to summarise my practice at the moment with a few links to where it can be seen and to bookmark a few posts on this blog that keep getting hits…

  • Digital Rain
    • While I am still making monochrome pencil drawings I have been working on a series of digital collages that I impulsively called Digital Rain. I did post them on here to begin with, but I was making two or three a day and it was turning into a chore. I have revived by instagram account which is probably the best place to see them. I also post them on twitter, but mixed in with all sorts of other stuff. A couple of recent images sit at the head of this post. The work emerges form the Sans Terre work I make with Chris Graham and is concerned with refugees, art history, Beyoncé, dystopian science-fiction, religion, and loads more. I’m not thinking too hard when I make individual pieces as I see them as being in conversation with one another and what is clear in one piece is muddy in another. They are yet to be exhibited.
  • Radio Four Appearance
    • A couple of weeks ago I was interviewed for a BBC Radio Four programme about copyright. It can be listened to through the BBC iPlayer on this page. I’m on close to the end, but it’s a fascinating meditation on the fitness of copyright law (or rather the lack of it) in the digital age. Recommended, even if I had nothing to do with it. Listen here. In the programme Richard Taylor refers to my prize-winning drawing, After Joseph Beuys’s Wirtschaftswerte (Economic Values). You can read more about it here and see it below.

After Joseph Beuys Wirtschaftswerte II

  • 365 Project Advice
    • My advice for starting a 365 drawing project keeps getting referred to and you can find it here.
  • Antoine Berman’s Twelve Deforming Tendencies of Translation
    • The most popular post I’ve ever written is this one, concerned with the text that was the course of my Ph.D. research. I suspect that people click on and then click off. I probably ought to expand it. I will be writing a version of my findings as a chapter of a book. That’s likely to be the reason I disappear from view in June and July.





Twenty-Two Drawings

afteraftercover front

For my PhD submission I have produced a short (56pp) publication to accompany the thesis. You can buy it by following this link. As with 365drawings – a version of which will also accompany my thesis – I have used lulu.com to produce the book meaning that you can buy it directly from them and, as they have production facilities in several parts of the world, it’ easier for you to get it from them than me.

After After… is priced at £10 (plus p+p), but I’ve discounted it to £8 as an introductory offer. I don’t have spare copies so they cannot, at present, be bought directly from me.

If you want to buy 365drawings, it’s still available at £15 (plus p+p) and the link is here.

After After…  contains a mixture of images and text that explores a work that I consider fatally flawed, but needed to come to terms with for my research. The drawings aren’t that bad, though some are better than others but what was really useful was reviving them through reflective writing. Much of it isn’t that academic and might be of interest to anyone who draws. I like this book better than I like the work (which was called After, hence the title).

An extract from the introduction:

I began making After… in the autumn of 2012 and abandoned it a little over a year later. In excess of thirty drawings could be considered part of the larger work but only twenty-two are discussed here. Writing about the entire corpus would serve no real purpose and the observations would have become repetitive. As production of After… proceeded it became obvious that the larger work had become a vessel into which any drawings that fulfilled conceptual criteria I had established could be placed, regardless of what they offered the project as a whole. This was due in large part to my preoccupation with accurately representing the appearance of the photographs that were the source material for the drawings, a preoccupation that overwhelmed any interest in what was actually shown in the photographs. Simon Morris, in the interview granted for this research, speaks of the importance of appropriateness when ‘mapping’ processes onto sources in order to make work. The process used for After… – the making of drawings of art works by others – is possible, but it is not always appropriate.

Below is a double page spread to give you an idea of the book’s content. If you click on the image, it will open in another window enabling you to read the text.

sample page.jpg