Abstract
The films that I make are part documentary, part film essay, part visual poem. They are created out of a series of up to 30 drawings that are animated. The process from research to completion takes about 2 years, and at the end of it there is a film and a number of drawings that can be exhibited. This paper emerges out of the realisation that in the different stages of making a drawing and a film—from planning a drawing and seeking an image as a starting point through to the finished film being projected onto a screen in a gallery—I am looking at the image in different ways. There is a close-up kind of looking when I am drawing and a reflective kind of looking when I step back to take stock. There is a way of looking at darks and lights as they are built up that is different from the way of looking at the lines crossing the edges of the grid being used to transfer an image to the drawing paper. Seeing the drawings on the wall of my studio is different from seeing the same drawings in a museum setting.
Highlights
The films that I make are hybrid works: part documentary, part film essay, part visual poem
For four years I have been keeping a ‘process journal’, a studio notebook in which I write down thoughts on the work I am doing
I have come to realise that in the different stages of making a drawing and a film—from planning a drawing and seeking an image as a starting point through to the finished film being projected onto a screen in a gallery—I am looking at the image in different ways
Summary
The films that I make are hybrid works: part documentary, part film essay, part visual poem. The following sets of observations describe looking at my drawings after the active making process and in contexts other than the studio These include seeing my drawings in comparison to those of another artist, seeing the film with the addition of sound, and seeing it as a finished work on exhibition in a public space. This second set of observations describes kinds of looking in which I feel myself to be disconnected, almost estranged, from the drawings and the film
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