Mark Making, the erosion of nature by the straight line.

Pixels interjecting with pencil marks to illustrate how nature is impacted by human processes.

Breaking the idea down into a smaller visual idea to reflect the silent erosion of nature by human encroachment.


Through the process of mark making I have come closer to a minimalist sense of conveying meaning not through the directly observable but through a more profound relationship with objects. This led me to view drawing as a medium that contained a multitude of possibilities I hadn't previously worked with and it also led me to see a similarity between a pencil mark and the computer pixel. The idea that the action of graphite on paper as a traditional medium of expression and the action of keystroke or finger tap laying down a pixel on screen seemed much more connected than I think artists engage with. There is a tendency to split the two apart and into schools of preference. My own preference is for digital but that has evolved from my learning particular skills not because I believe any medium is any better than the other.

I feel that the two mediums when crossing can readily address much of what we find as questions to be answered in the world we inhabit. Their differences and traditions reflect many differences and traditions we experience in our day to day lives. How for example do we deal with technological progress, rapidly expanding global markets, pollution, excess use of materials and destruction of natural habitation that other species also use and depend for their survival upon.

I have broken that down into a simple idea of the erosion of organic nature by the straight line, or the uniform imposition of efficient (financial) globalisation. This acts as a metaphor for how I might simply combine the natural and 'human' mark of pencil on paper and the process of computer marking on screen. As in my ideas around seasons, I took a pencil drawing of a feeling I had about a bird and their environment (drawn as a small sketch) and then scanned that in and overlaid representative pixel markings or computer blocks to create a clash between different types of marks that could be used to draw attention to deeper ideas of the 'natural' and the 'artificial'. I recognise philosophically the lines between such terms can be argued but in this case I am simply using words such as natural (pencil) and artificial (pixel) to illuminate a point that links to ideas about nature (organic) and man made (architectural) 'progress'.

I think this extends the idea of the mark out into broader areas of study and additional integration with other forms of media that can be complementary or incongruous. I think the differences are in essence actually important modes of similarity that readily engage with our own complex relationships to the environments we and other forms of nature inhabit.



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