We commonly discuss what we are about to do with those who share our lives, whether that is washing up or moving house. Less usual is the idea that this process extends into ourselves, the negotiated becomes us. Rarer still is the notion that this place has creative depth. The drawings in these series are the product of such negotiations and are conditional upon the happen-stance of everyday life.
What it is that singles it out drawing from other forms of representation? Perhaps ‘value’ underlies all drawn activity, both artistic and personal. The maker values the process, they may even have been trained; but most importantly the maker values the subject, s/he has given up time to the subject, drawing is an act of love which is revealed in the depiction.
This explains, in part, why drawing evokes passionate responses. It is imbued with the hidden passions of the makers which translates in to an exchange of values in which the act of looking or even the act of showing up at the gallery makes you, the audience, somehow complicit with that value, or worse, you have reflected it back to the makers, thus egging them on!
In series one I have used two-point linear perspective, first discovered in c1420 by Filippo Brunelleschi, one of the foremost architects and engineers of the Italian Renaissance. The impact on the graphic arts was and continues to be profound, linear perspective remains the basis for rendering three dimensional geometric objects on flat surface..
This series of drawings represents a collision between this 500 year old graphic system, and the vagaries of contemporary family life. Plastic bottles and food packaging are the fleeting evidence of the material culture of the everyday, while perspective is a timeless idea that will outlive both the artist and his children.
I hope the drawings carry the tension that I perceive between the relative cultural positions of the method and the subject.