The Art of Drawing
the artists are featured alphabetically:
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BRUNO BOBAK
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HAMMERSMITH BRIDGE |
RUSSELL SQUARE |
THE THAMES |
PRIMROSE HILL |
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BOYS AT BATTERSEA
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STUDY FOR BOOTS, 2010
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UNTITLED I, 2009 |
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UNTITLED II, 2009 |
UNTITLED III, 2009 |
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STUDY OF HAND WITH WATCH, 2004
NIGHT SCREAM "For Forrestall the idea of religion and the human connection to God is the most important aspect of his creativity.
STUDY FALLING FROM HORSE, 2003
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CROUCHED MALE FIGURE FROM THE SIDE
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SITTING MALE FIGURE FROM THE BACK |
SPRING FLOOD, 2005 |
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BOY FROM MCGILL DRAWING TOGETHER There is simplicity in drawings. A drawing is art pared down, stripped of jargon, reduced to honesty. A drawing is a record of thought, an unassuming, intimate murmur of an observation. Drawings are art speaking plainly. Drawings, with their fibrous delicacy, can be a most subtle art form and yet their nature often captures a profundity easily missed by more involved art-forms. The artist’s mind helps the rest of us better see and understand the world. Therefore, the image the artist imagines must be translated into what we can see. The simple act of pulling an instrument across a surface and leaving a mark begins this artistic process. Whether finger-painted soot on a wall, chalk on the sidewalk or pencil on paper, the distillation of thought into drawing is elemental. Drawing is the first, essential making of a mark that communicates the substance of the idea. It gives structure to the image in shape and form. Even in the era of photography, there are many artists, like Bruno Bobak and Tom Forrestall for example, who use drawings to rapidly capture their initial thoughts. Like relying on a notebook or a photograph, these drawings then inform later decisions and serve as a reminder of the original idea. Historically, art was constrained by culture and technology to represent and illustrate. Before it was released from these obligations of necessity, drawing was often narrowly viewed in relation to other arts. Drawings were only the first step towards a painting or a sculpture for example. But even then, drawing was valued for its ability to capture the initial thought. These images were then milled down however, re-arranged and then hidden beneath paint or in the lines of a statue. As art developed into the modern and art came to be valued for art’s sake, paint and sculpture were no longer constrained. Beginning most notably with Impressionism, but reaching an apex in the completely abstract work of the 1950s and 60s, paint could be just colour or light or emotion. With that unshackling, drawing came to be empowered in its own right. Just as painting could be free of form, drawing could be free from the painting tradition. The mark, the careful arrangement of line on page, was revealed as an artistic expression with its own storehouse of truths. Drawing creates something that nothing else can. Like the friend who carries a hidden strength beneath a quiet façade, drawings casually dish the truth about the universe, without the ceremony and discussion paintings, sculpture and photographs often demand. Whether a sketch dashed off in a moment or a highly developed image, drawings are honest and simple and true. Leopold Kowolik, 2010
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STEPHEN AND BAILEY, 2010
INLAND
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FALLING |
Click on these images to see the full length scroll |
A MAN IN A UNIFORM, 2010
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RED DRESS, 2010 |
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AFTER THE SHOW, 2010
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UNTITLED 6 |
UNTITLED 2 |
UNTITLED 14
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UNTITLED 13
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HOUSE NEAR BUCHANAN'S MILL, 1994
KNIFE STILL LIFE, 1985
BUSHES, STONEWORK, GRIMROSS ISLAND, 1987
BARN INTERIOR AND MOWER, 1989 |
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MORNING LIGHTS, 2010 |
MICHELLE, 2007 |
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A LITTLE BREAK, 2010 |
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SKETCH, TETAGOUCHE RIVER, 2005
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SKETCHING, 2010
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JESTER STUDY "The study (above) was done in preparation for a painting of a man in the guise of a jester. I have done many works using this model and he has always evoked unusual and he has always evoked unusual symbolic associations. The drawing and the larger paintings were actually done three or so years apart but my interest in the theme was enough to bring me back to it."
HEAD, MAN IN COAT
LIFE DRAWING MODEL "These drawings were done at a time when I was experimenting with expressive impulse in figurative drawing. The technique involved
WOMAN IN SLIP
THE ARTIST'S FATHER |
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