In spite of feeling tremendously excited by the landscape in Iceland, I've been having a hard time getting going on any artwork. I think I've needed to think about it, but I've also been setting my internal bar too high rather than just plunging in. I did this drawing (above) last week but it wasn't what I was aiming for at all -- this is a view of the same beach I posted about a few days ago. I kept the sketchbook open and studied the drawing everyday, and today I started over.
Until I start drawing, and thinking about what's emerging, I sometimes don't know what it is that I want to emphasize: what for me is the aspect of the subject that I find the most powerful or compelling. It may end up being a surprise, though I'm sure that my subconscious "eye" registered the information already -- the process of drawing becomes a process of simplification, of shedding layers of extraneous information, including the distracting or inaccurate story my mind has made up about the subject, until the most important kernel emerges. It can be quite a surprise.
I chose a different angle, and began drawing, and quickly this time realized what was important: predominantly the forms of the cracks in the rocks and the angles those cracks creat; secondarily, the interplay between the large skull-like white areas and the large shadows. The latter doesn't show very well in either of the following drawings - the size of all the black lines is too similar, but it will, I hope, when I'm done.
The final print will probably include more of the scene on the right. The large black shape at upper right will be broken up - that's turf on top of the rocks. But this is progress, and that feels good!
"...what for me is the aspect of the subject that I find the most powerful or compelling. It may end up being a surprise, though I'm sure that my subconscious "eye" registered the information already -- the process of drawing becomes a process of simplification, of shedding layers of extraneous information..."
Yes, I absolutely know what you mean! That's always the big task and the challenge. The desire to produce a finished work, a 'good' product (however our own standards define 'good') can get in the way of that more subtle and difficult search for what it is which truly moves and excites us about a subject. For me, your middle drawing is getting closer to that whereas the black one below is perhaps going too fast in trying to reach a conclusion. But I'm sure you'll find your way, Brava!
Posted by: Natalie | October 29, 2011 at 07:25 AM
Interesting as always to see your process, working through struggles and thoughts. Sometimes, in my case I can be hampered by thinking too much and not going with the flow to allow for the surprises, yet process oriented work such as printmaking does force me to think about "how" a lot. Finding that balance seems to a crucial part of some, maybe almost all, kinds of image making. As Natalie said, Brava, these are exciting.
Posted by: Marja-Leena | October 29, 2011 at 12:55 PM
Thanks, Natalie, thanks Marja-Leena. I really appreciate the feedback and your own observations about the process, since you are both much more experienced printmakers than I am. Actually - and Natalie's comment points this put - I'm not sure I'm "there" yet in terms of making this subject into a print. The black and white drawing at the bottom was a fast ink sketch done over a copy of the middle drawing, just to see how it would look in high-contrast. But I think I need to do some large charcoal drawings, or loose sketches in acrylic wash + line, to explore further. That's the plan for next week, anyway!
Posted by: Beth | October 29, 2011 at 03:49 PM
You know,for just a moment that drawing looked to me like demonstrators holding up signs by the water.
Posted by: Hattie | October 31, 2011 at 03:04 PM