Large, monochrome, predominantly abstract ink drawings using photographs of mountains as visual subject matter, which is recorded through layered line work. Some of the drawings are completely abstract with very large, fresh brushstrokes, whilst others describe mountain imagery more recognisably with extremely detailed, fine lined brushstrokes. I work with 4/5 different kinds of ink. All the inks are black but when I mix them with water they have different shades/tints to them (usually brown,blue,green). The Parker, Pelikan & Sheaffer inks usually have a slight blue or green tint, but depending on how the ink has settled when I dip my brush in, the dab on the paper can sometimes have quite a stark blue/green colour that could also have slight tints of yellow/orange in some places. These inks are quite unpredictable with the random and interesting colourings they create here and there, which is exactly why I enjoy working with them.
I work with the idea that the sublime representation of mountains in landscape art is a construct of the mind. As such, my intention is to emphasise process, studio practice, labour and time by playing with the variables available within the studio/working space. I start by deciding whether I am going to work on the floor or the wall and what the different lengths and sizes of my paintbrush will be, as well as the time period that I will work with each of these lengths and sizes. These then get worked into a pattern that control the process and outcome of the drawing. Ultimately the drawings have much more to do with a construction of decisions made within the studio space than they have to do with representing mountains in a sublime way. They are the storage of time, labour, decisions, obsessions, experiments, and the anxieties of working on a page.