Here we are again – that old struggle in creating a body of work for exhibition. Exciting, yes, terrifying yes, time-consuming yes.
I go back and forth between craving paint and feeling frustrated that I don’t have a studio standing by for 10 minutes of industry here and there, and in lacking the confidence to get the brushes out and commit to a decent session. I will paint again – and there will be paintings in my next exhibition, but there will be paper cuts too. White on white. Fragile, delicate, labour-intensive hard work.
Paper can be so many things – a source of information, an enclosure for something hidden, a cause of so much emotion with regards to recycling and logging. The bond to paper is such a human thing – a need to record our existence in scribbles and follies, in swooping words and scrawled notes. Invaluable.
I’m loving exploring the fetishistic idea of using a product of nature to record the land that is protected from farming and logging. Elevating something so fragile, and so easily destroyed.
I am enjoying also, how my efforts on the paper I’m working with are almost invisible. You can see me by the absence more than the substance.
I like that.