The use of line with black marker pen has been freeing and has loosened up my approach to making art. I am now less worried about making mistakes and instead simply focus on creating the line in the moment, of being submerged in the flow of the line. I really enjoy the process of continuous flow, of not overthinking it, of following the line from the natural surface forms and qualities. I have introduced line alongside a range of different media to incorporate beauty and fragility, of using line as a thread to the context of my creative practice to highlight environmental sustainability versus the effects of pollution and waste.
I have enjoyed the process of using different pens to explore different lines made and their effects. I started using line to demonstrate more complex areas within natural forms but as time went on, I increasingly simplified the process to include less detailing especially when amalgamating line with my other artwork. I have learned that the more I draw and sketch the more I want to draw and sketch and also the quality of the relationship with what I am doing improves, it seems as if I am more in tune with what I am creating and time flies by. That said I have created dozens and dozens of line drawings to learn from, to develop and to use with collage work through a range of printing processes.
As a consequence, my confidence has increased as I draw more, and I am increasingly developing my use of sketchbooks. I have however developed several textile projects simultaneously given my preference to be involved with printing and tapestry weaving which means I continue to use loose-leaf paper, card and other materials as notepaper. Through this I experiment more freely which means ideas are continually generated from my creative practice which helps to inform and define the next phase of making.
Line of beauty is a term and theory in art often used to describe an S-shaped curve as a boundary line of an object or as a virtual boundary within boundaries. I use such staggered curves a lot as they are conducive to natural forms and surface patination, of preferring the dynamic use of line as opposed to intersecting lines which can signify stasis and a lack of movement and life. The emphasis then for me within the development of line is not to destroy the harmony of the line and its simplicity with unnecessary complexity. I am increasingly aware of when my drawing, sketching and collage work is overdone, of doing less to achieve improved results in creative practice. I now don’t see anything as a waste because although something hasn’t worked as well as I had hoped it has invariably lead onto more successful outcomes next time.
WeavePrint 