On the evening of Friday 16th June – after a symposium an Art + Copyright/Copyleft – there will be an opening for a one-day show of my drawings at Bank Street Arts in Sheffield. More here.
I will be giving an artist talk during the evening event on the 16th. Entrance to this event and the exhibition is free and all are welcome.
The evening event if from about 5pm on June 16th. I will be talking about the work at the start of this event.
The gallery is open on the 17th between 11am and 4pm.
All the works are for sale (unframed). 50% of any money raised will be donated to Bank Street Arts.
In addition to this ALL the money raised from the auction of my drawing of Guernica will go to Bank Street Arts. If you would like to bid for this drawing please email in confidence at firstname.lastname@example.org. The drawing will go to the highest bidder over the reserve price of £1500.
Large works to be shown include:
- After Hieronymus Bosch’s Garden of Earthly Delights (pictured above)
- After Pablo Picasso’s Guernica (pictured below)
- After Caravaggio’s The Incredulity of St Thomas
- After Walker Evans’ and Sherrie Levine’s Annie Mae Burroughs
- After Leonardo Da Vinci’s Mona Lisa
- After Joseph Beuys’ Wirstschaftswerte (Economic Values) II
There will also be a selection of smaller works on display. All the works are drawings of art works by others.
A PDF of a catalogue/ price list is available for download here.
I hope to see you there.
I have now completed a drawn reiteration of Hieronymus Bosch’s Garden of Earthly Delights. For now, I’ll leave the image here (and if you click on it you’ll be taken to a larger version so that you can have a better look).
I’ve been racking my brains to think of something to write about the making of this piece which is neither banal (‘it was difficult’) or predictable (‘it took longer than I thought’). Perhaps the best thing to do is to simply list some thoughts and see how they stack up as reflection. Here goes:
- Each panel I drew was like a mini-painting in itself in that there was rhythm and composition and visual interest, often narrative or at least amusing. It’s a complex work when taken as a whole but that complexity arises out of the complexity ‘on the ground’, so to speak.
- Notwithstanding that level of detail there is an overall rhythm to the piece that is its structure. The circling parade around the central pool might be obvious but there’s also a large ‘X’ below that.
- There is no sex on the picture, despite all the nudity. Derek Jarman (who is trying to make a film based on the painting) reckons that there’s one couple copulating, but unless it’s couple who are mostly hidden, I have no idea who they are.
- The ‘Hell’ panel was hard to make purely because creating a solid black with a .5mm 2B pencil is a slow process. There’s a rhythmic quality to the resulting surface which is missing form the source painting. Drawing and painting are not the same. Bosch could add opaque white to a coloured/dark background whereas I had to excavate the white back from the grey or black. One other solution is to leave the light or white parts and work around them but that can create the impression of an ‘aura’ or rhythmic surfaces that envelop the objects in the foreground. It is hard to make any brush marks on the painting.
- In previous drawings (After Joseph Beuys’ Wirtschaftswerte and After Caravaggio’s The Incredulity of St Thomas, for example) I left a white border around each panel which formed a grid that appeared notionally ‘before’ the image and stood, in some ways, for my intervention. In this work (an in After Picasso’s Guernica) I didn’t bother with the white border. The grid, though, is still visible in the rupture created by the details not quite matching up.
Since completing this work, I have shown it with the Guernica drawings in an incomplete form as a response to Bank Street Arts ‘LEAVE // REMAIN’ call out for their 2016 members’ show. I titled the conflation: After Picasso and Bosch (The majority of this drawing remains at home. A minority has been left here for you to see).
Avid readers of this blog will know that I started making a large (240cm x 120com) 72 panel drawing of Hieronymus Bosch’s Garden of Earthly Delights at the end of last year. I feel like I’m rounding the last bend. As I write this post, there’s still sixteen panels to go, but after finishing three yesterday, it seems likely I’ll get this done within twelve months of starting it.
Shown here is the up-to-date version of the work, with the ‘to do’ panels greyed out. If you click on the image you can see a much more detailed iteration of the drawing so far.
I’m still searching for a title for this piece, but that’s okay as it’s still a long way from finished. As mentioned in a couple of posts below, I’m drawing two works that are held in the Prado Museum that I saw as an undergraduate a long time ago: Picasso’s Guernica and Bosch’s The Garden of Earthly Delights. Click on the image above for a closer look.
Both are iconic works and, it turns out, roughly the same proportions (though Guernica is much, much bigger).
I’m making complete copies of both work as 2400 mm x 1200 mm multi-panel drawings. As is my wont, I’m posting the two drawings as works-in-progress online (here and on facebook) to acknowledge the making process. I’m thinking that when the two sets of panels (seventy-two for each image) are complete I’ll try and show the images in partial form, allowing it to be shown simultaneously in more than one venue (though I have nothing planned) or as combined images with panels from each forming a fragmented and awkward image. The thing is, I need to make all of the panels first. Not sure why, but it seems like an imperative.
I’ve included in the image above a pale reminder of the undrawn panels.
I saw this painting a long time ago on a student trip to Madrid and though I enjoyed it, I was distracted by the possibility of seeing Guernica and all the Goyas that the Prado holds.
Today I booked tickets to go and see the forthcoming Hieronymus Bosch exhibition in his home town that will commemorate 500 years since his death. I also drew two 20 x 20 cm panels of the painting to go with two I’d drawn a couple of weeks ago. Above you can see how they fit into the picture as a whole.
My plan is to keep making the drawings and to add them to the image above, like I’ve been doing with the collaborative drawing project. Over time I’ll hopefully complete a drawn version of Bosch’s masterpiece.
If you click on the image you should be able to see it much larger and can then move around the image to scrutinise it more closely.
At the moment I’m not entirely sure why I’m making this, but as I work I am confident that this will become clearer. Periodically I will post a new entry with my thoughts.