writing about the drawing


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.

time and sociology

In sociology a longitudinal study takes place over a period of time. The scientist will observe (i.e. collect data from) the same subject repeatedly, the same people, the same place, the same environment.Time is the key factor, in this set of drawing I have taken the same subject and observed it over a period of two years, borrowing the idea of ‘longitudinal’ from sociology and applying it to my family’s kitchen, and perhaps to myself. I have become the subject of my own sociological research. In this gesture I claim power back from the structures that define knowledge such as academe or the media.

In this sense the drawing of a kitchen is a profoundly political activity, the effect of which is to touch consciousness rather than spur some particular action.


This show consists of pages torn from a drawing book, indicating that the collection of works are both art objects and everyday bits of paper.

I have included drawings that contain mistakes and others that retain pencil construction marks. Ensuring that the act of making remains visible and self-evidently the product of  labour, not removed from this place, but part of it.

The drawings are arranged in a single block, presented in the order in which they were made; save for one, presented on an adjacent wall. Each day a different drawing, chosen at random, will occupy this space; every drawing in the series being an integral part of a two-year narrative and a complete artwork in its own right.