During the Covid 19 Lockdown I collaborated with friend and artist Peter Pilgrim to produce a series of drawings that responded to his paintings.
Each work was completed within a week, any medium and no bigger than A4.
1st image is a straight forward observational drawing of my favourite wine glass. Pencil on paper.
2nd drawing responds to Peter Pilgrim’s watercolour of his garden looking towards his house. I have picked up on the metal framed windows on his house. Pencil on paper.
3rd image responds to Peter Pilgrim’s abstract watercolour of graphic wine bottles and tulip shapes in a staggered format. I have picked up on the tulips and drawn an old bulb…it’s nearly 100 years old and approximately a foot in length. It’s a straight forward observational drawing, pencil on paper.
4th image responds to Peter Pilgrim’s water colour painting of a metal window with a hint of an interior space. Several artists went through my mind to produce this work…for example: Agness Martin (grid), Rachel Whiteread (interior negative spaces) and Joseph Alber’s (line puzzles). Ink on paper
5th image responds to Peter Pilgrim’s abstract of a grid (steel window) and circular shapes (lights in a ceiling). I responded with a different grid…the circuitry of which is unlikely to light up any bulbs. Polished graphite on paper.
6th image responds to Peter Pilgrim’s abstract painting which was divided into equal quarters and each quarter had two different sized squares overlaid on each other. I counted 13 squares. My response is ’13’ squares pencil and crayon on paper.
7th drawing responds to Peter Pilgrim’s monochrome, abstract painting of circles, rings, holes and stripes with a series of found objects. Straight forward observational drawing. Pencil on paper.
8th drawing responds to Peter Pilgrim’s abstract of a series of three quarter profile 3D squares jutting out of a square with the bottom section of each square in shadow. It reminded me of a keyboard.
My response picks up on the shadows and keyboard element and is inspired by a shot I took of a metal fence in Portugal in 2019. The horizontal and vertical lines are metal struts, as is the white area… lit by sunlight. The downward diagonal is a cast shadow and the grey area is the space the other side of the fence. I find the image moves from a fence to a keyboard depending on how I look at it.
9th drawing responds to Peter Pilgrim’s abstract work which involved textured circles floating abover water colour lines. The lines had soft edges.
I have collected a list of ingredients which include, circles, lines, bleeding edges (mine with Olive oil), shadows ( the shape is a cast shadow) and light and thrown them at the paper to see what happens. Pencil and Olive oil on paper.