Tree trunk

This drawing was inspired by one of the many walks I have been on recently and for this particular drawing I focused on the texture of the tree trunk. I wondered how I could convey this in a drawing and show my engagement of this particular object in nature. I was obviously keen to explore texture but by using lines and marks to combine my interest from my recent ideas and themes. I combined printing from parts of nature e.g. moss and also created my own marks and lines to capture the dark and lighter areas of the trunk.


Mixed media consisting of: tissue paper, ink, paint – printed with lichen moss, oil pastel, fine liner – thick tipped.

Without realising it I have drawn this tree trunk with a very relaxed, expressive mark that I feel has created energy and passion from the environment. Instead of drawing the tree trunk how it was, I have expressed myself through this drawing. I’m surprised with the outcome as its more expressive and energetic than I expected it to be. The smudging of the oil pastel created a smoother surface which isn’t what I wanted, so I will take this away with me and consider it for further drawings.

Also I wonder how to make the highlighted parts of the tree stand out without covering it in white. I like the texture of the tissue paper as it creates a 3D effect to the tree which makes you want to feel it. Could this be an idea? Interactive drawing? I need to work on tone to make the 3D parts and the more receding parts of the tree because I want to establish a real sense of ‘realness’ to the tree trunk.

I was really pleased with outcome and I honestly think I have been able to devise my own style in enhancing the texture. I think the aims of this exercise were met.

Exercises to assist my development

My tutor keep mentioning to work through Robert Kaupelis’s book to assist with developing my drawings. I have a similar book that I was really desperate to open, so I decided to do an exercise from this to kick start my drawing for assignment 5. The book is: ‘Drawing Projects, an exploration of the language of drawing’ by Mick Maslen and Jack Southern.

The exercise – The Extended Arm (marks into meaning)

The aim of the exercise was to break from the habitual approach to drawing. The habit of picking up a pencil to draw in the same way you do to write. The exercise was about making marks with varying amounts of control over your drawing tool. I had to use pencils on the end of 2 different lengthen sticks; one stick – 0.3m and the other 0.6m.

I found this exercise quite difficult to begin with. It was frustrating when the pencil wouldn’t do what you were telling it to do with your movements in your arms. I had no control at all so I would create lines that I really didn’t mean to do. But once I had started to relax and let the pencil ‘do its own thing’ I started to enjoy the exercise and the piece started to create an energy within itself.

I was keen to try this exercise with a landscape even though they say to have your subject as a still life or figure.

I dont think this really worked out as a landscape drawing. It was quite time consuming and I wanted to create a faster more energetic piece. I chose a plant pot, something that was still related to outdoors. I loved drawing this, as I considered the plant had a continuous line that carried all the way through the plant and which was evident in my piece. I experimented with adding colour, with oil pastel, still using the sticks and on coloured card.

It was a fun exercise to do and something that made me develop in a way to draw more gesturally and not be too precious over a drawing.

Artist: Jindra Jehu

Jehu has been my main point of inspiration for my commencement of ideas for this assignment. Jehu works mainly on site but takes objects home that she finds in landscapes, to do more detailed drawings in her studio. I was first attracted to her striking visual energy in her pieces and as I researched further her involvement within a landscape really captured me, as I thought this is something I could take forward.

Below is an image of Jehu experimenting on site at Kimmeridge Bay in Dorset. She draws with found objects; feathers, seaweed etc using acrylic and ink. Jehu mentions that she is fascinated by the marks that are created with these materials along with the energy they convey in a piece, due to having less control over them. Jehu feels a physical connection to a place when drawing on site and with the materials she finds. This is something I am extremely interested in taking through my work. (Jindra Jehu, 2017)


Fig. 1. Jindra working on site (2016)

I emailed her asking some questions about her work:

Hello Jindra, 

I was wondering whether you would kindly be able to answer some questions I have. I am currently completing a degree in Fine Art and at the moment I am on my final part for the drawing unit. I am from Dorset, but currently living in London. My chosen theme/subject is landscape and I came across your work whilst conducting some research. I love your drawings and your engagement with the work is so clearly visible. I consider myself a nervous drawer as it’s not my strong point but I’ve been desperate to learn to draw in the way you do and other artists that draw in a more gestural way, using marks, lines and emotions. What inspired you to draw this way? How do you start a drawing? I am planning to get down to Dorset tomorrow for a while to do some large drawings on site, including the beach and the forest. So how do you start drawing when you get to a place? Do you start by conducting mark making? Does a drawing have to look like what you drawing from? I understand you must be very busy but I would love to hear from you. I am really trying to grasp gestural drawing and show my engagement with the piece. Thank you in advance. Many thanks, Alice

This was her reply:

Hello Alice, 

Lovely to hear that you have been drawn to some of my work. My approach to drawing has always been to explore and experiment with media and materials. It takes time and perseverance to establish a visual language for yourself and mine is continually evolving. I enjoy working on a large scale as it offers the opportunity to be physical and involve the whole body with mark making, and the action/energy involved in the painting/drawing is mirrored in the piece. I try to capture some of the energy of a place when working on smaller pieces too (Further info on my working process can be found on the landscape page of the website) A couple of general tips that may help you are to start in a sketchbook, this affords you time to settle in to the place and ‘be’. Make a few quick sketches that are more to do with seeing and getting a feel for the place than a finished piece. You could try drawing exercises such as using a continuous line or not taking your eye off the subject to do this. Another tip is to work on a number of drawings which will prevent you from getting too precious and will encourage experimentation, with marks and media. Above all don’t become discouraged if things don’t work out as you expect. Your drawing is a process of discovery and sometimes unexpected things happen. Some you may like some you may not. I sometimes find freedom when a drawing ‘goes wrong’. It can allow free reign to experiment, as you no longer care too much about the finished result. Returning to work in the same place on a number of occasions helps too, as you get to know a place and learn different things about it. I also make collections of found objects from a place as a means of further exploration and discovery. Finally If you have the opportunity when in Dorset, visit Sladers Yard in West Bay. There is an exhibition by another artist you may like. Francis Hatch works outside a great deal, using materials from the environment in her work. 

Have fun and enjoy the journey,


Below are some images of her work. I was completely captivated by her use of colour, line and energy that she creates in her pieces.


Jindra uses various medias such as; oil pastel, ink, watercolour, charcoal, pencil, biro, plaster, acrylic.

Jindra Jehu (2017) (Accessed on 10th August 2017)

Figure 1. Jehu, J. (2016) Untitled [photograph] At: (Accessed on 10 August 2017)

Figure 2. Jehu, J (2016) Drifter [ink and mixed media on panel] At: (Accessed on 10 August 2017)

Figure 3. Jehu, J (2016) Ocean Drifter Portland Bill [ink on watercolour paper] At: (Accessed on 10 August 2017)

Figure 4. Jehu, J. (2016) Ocean Drifter, Portland Bill II [charcoal on Fabriano] At: http:// (Accessed on 10th August 2017)

Figure 5. Jehu, J. (2016) Abbotsbury Knot [ink and biro on paper] At: ocean-drifters.html (Accessed on 10th August 2017)

Figure 6. Jehu, J. (2016) Tempest [ink on plaster] At: (Accessed on 10th August 2017)

Figure 7. Jehu, J. (2014) Kimmeridge Rockshelf [ink and acrylic on paper] At: http:// (Accessed on 10th August 2017)

Figure 8. Jehu, J. (2015) Beach litter study II [ink on paper] At: seascapes.html (Accessed on 10th August 2017)

Figure 9. Jehu, J. (2015) Shore dump [pastel on paper] At: seascapes.html (Accessed on 10th August 2017)

Figure 10. Jehu, J. (2016) River Dart II [charcoal on paper] At: landscape.html (Accessed on 10th August 2017)

Figure 11. Jehu, J. (2016) River Dart I [charcoal on paper] At: landscape.html (Accessed on 10th August 2017)

Figures 12 & 13. Jehu, J. Sketchbook [mixed media] At: (Accessed on 10th August 2017)


Initial thoughts/ideas for Assignment 5

Starting assignment 5 and trying to develop an artists statement before I start the actual coursework. I am finding this tricky to do so as I have been unable to speak to my tutor about this. however I have a few experiments I want to try out and keen to explore experimental drawing for this part. I’m going to go with the flow of the theme ‘Outdoors’ and explore the landscape. In opposite to assignment 3 I would like to explore the organic and rural.

Before I start work the course materials asks us to think about some points, please see below:

  • Subject – gestural line in landscapes. Like Mehretu, keeping a strong correlation of key ideas in drawing such as perspective
  • Format – landscape – rural/organic
  • Support – thinking of doing some land art but keep a real strong focus on with actually drawing to continue learning about both representational and gestural. Which I will explore alongside when doing my temporary drawings
  • Medium – mixed and experimental
  • Line and tone – my focus will be on line but tone might come into this
  • Composition – definitely experimental
  • Story? – creating a mood in my piece? adding movement and energy into the piece?
  • Abstract – but demonstrating the skills and techniques I have developed along the way – inspiration Mehretu, very inspired by Zwink’s work and link to sculpture which i’m keen to explore
  • Light – natural
  • Size – negotiate with tutor

I loved researchingJohn Virtue’s walks and sketchbook works of how he would draw.

I always wanted to be bold and create large gestures but I think my more successful drawings have been with more intricate lines. Maybe I could us those bold gestures and combine shape and colour. Artist Heather Day – I like her mark making and colour – what materials could I use to demonstrate line

Textured surfaces to draw on? Collaged surfaces – get adventure magazines.

Draw a new scene everyday for a week?

I think i’m going to need to start this assignment before I write up my plan because I’m not sure what my focus will be yet, especially without my tutor’s guidance until the 25th August.


Reflecting on feedback from assignment 3

I started to respond to my tutor feedback from assignment 3, during my completion of assignment 4 but due to time constraints I had to put it to one side and complete assignment 4 to meet my deadline. My assignment 4 is now with my tutor, so I have been able to get a bit of time together to fully respond to my tutor feedback for assignment 3.

During the small amount of time I had during assignment 4, I focused on looking at the artist’s my tutor had suggested to help inform my work and ideas for assignment 4. The artists were: Cy Twombly, Oliver Zwink, Jackson Pollock and Julie Mehretu. I would say that I had ‘dipped my toe’ into Zwink because until now (now that I have finished my assignment 3 feedback actions) I didn’t realise quite how much it was going to impact my work. I tried to understand Twombly in much more detail. I was very interested in understanding gestural drawing and using this in my work. This led me to discover Joan Mitchell’s work, who really impacted on my ideas for assignment 4. Later on in this reflection process I look into Julie Mehretu in more detail underpinning her practice. Now that I have time to reflect properly I will respond to other tutor recommendations that I was not able to complete earlier on in the course. Further points for assignment 3 are; artist’s – Xavier Grau and Henry Moore, drawing from Kaupelis, full hazard referencing all my sources, expanding my critical and analytical reflection, continue to use photoshop, consider less is more approach in your work.

My tutor’s overall comments were fairly positive although I couldn’t help but feel slightly deflated at the amount she suggested I look at or into. I know this is only to better myself but It’s slightly disheartening to see how much I still need to work on. However she noted that ‘it is clear you have made good progress since Assignment 2’ which made me feel I was making progress regardless of what I still needed to work on. During this assignment I was trying to keep my momentum going so I took any opportunity to draw, i.e. drawing on the train to work, which was something my tutor managed to see evidence of and wrote that ‘your studies are now working in synergy’.

It is noted in my feedback that I have been continuing to reflect on my work during research and the exercises which is building on my confidence and decision making. I am starting to reflect critically and analytically which is affirming my drawing qualities and strengths, alongside recognising what needs improvement and development.

There is a developing and embedding of a good sense of experimentation.  A sense of risk-taking and playing with media and process, are being combined with reflection, analysis and setting some aims for yourself. 

A diverse range of media and process evident incl: oil pastel, charcoal, fine-liner, hand / digital collage and ipad drawings.  These have provided a sense of momentum, increased motivation, aided your mark-making and visual language.

I have tried to be more experimental and due to this I have started to enjoy the process a lot more which is obviously evident in my physical work and not just in my written reflections.

Feedback on assignment:

I am keen to develop my understanding of ‘non-traditional composition’ drawing and took a real interest in developing my knowledge of this during assignment 4. I plan to take this learning forward with me for assignment 5. I have continued to take ideas forward of layering and mark making, introducing space since I have reflected on my assignment and changed it accordingly.

My main reason that I decided to rethink my assignment 3 piece was due to this comment from my tutor – There is a sense that some of your prep and sketchbook works, work more successfully as a whole (than the finished outcome).  It is important that you took the risk to scale -up, now think  about what you learned from this and review your approach to the assignment?  I think scaling-up from smaller drawings takes practice and more planning.  Ask yourself how you planned, organised and composed the various sheets of paper to create the sense of ‘movement’ you wanted? Throughout my earlier studies, A level, foundation diploma, my coursework and prep work has always been stronger and more evident in experimental approaches rather than my final outcome. Whilst I was re-considering my assignment 3 piece , if I’m honest, there was no real love for the piece, I felt no connection to the piece and I think that is the reason it lacked planning and practice. I didn’t spend a great deal of time planning and went with the idea I had, although this is how I normally go with an idea, I felt pressured to incorporate so many different ideas into the piece that it was all lost in un-planned chaos. My revised assignment piece, although I feel it is chaotic, it contains a sense of energy and movement that I was so keen to portray in my other piece but was just completely lost amongst other ideas.

The next point my tutor makes is some parts of the drawing working better than others. I struggled to see this as to me, I felt completely overwhelmed by the whole piece that I couldn’t quite pick up on the smaller details, which is exactly what I think my tutor was trying to say. There are areas of the drawing that work better than others.  Where you have retained an interest and juxtaposition in differing qualities of surface: matt marks against shiny,  dense, velvet smudges against mid-grey grid.  The top left-hand side works better due to these qualities and lay-out.  Review the drawing as a whole and ask yourself which areas work and which don’t work so well….why and how is this? I recommend that you carefully take each piece apart and reposition.  Play around with the placement / compositione.g: rather than a horizontal panoramic, try a central grouping with a couple of sheets either side.  Photograph your try-outs. My tutor recommended I carefully take apart each section of the drawing and play around with composition. I tried this and was completely lost of how to take this point further, which was then when I took the plunge to change the assignment piece altogether and I’m so glad I did. (please see full process of assignment 3 piece edited below)


My tutor mentions that I am ‘exploring a breadth of self-initiated media and process’ of which she says to continue as I progress through each assignment. This comment is received with a sigh of relief as I think I struggle to decide whether to stick closely to the exercise instructions or explore in a way that I feel will benefit my own practice and to continue to progress this way. I am starting to learn to take the exercises as a starting point but ultimately I should draw how I perceive the exercises rather that worrying if I am doing the ‘right thing’. Sadly, I think I lost this momentum slightly during completing my assignment 4.

To name a few examples of interest; coloured pencil ‘joiners’ where you experiment with perspective, tone, cross-hatch, carbon paper drawing of perspective, dense and ghost-like tonal values.  Use of Photoshop and collaging of photographs to create layering of different architectural elements.  A number of good,  methods of playing around with composition, shifting the viewer’s point of focus and creating a sense of dynamic movement.  Remember these methods and processes for future preparatory and final outcomes.  

I’m happy that my tutor noticed all of these aspects of my experimentation and what interested her most. I was then keen to explore these aspects and take them forward when ‘re-doing/re-thinking’ my assignment piece (see response/reflection above).


Research sources included both primary and secondary: not consistently Harvard referenced.  To evidence good practice you need to use academic referencing for all your research.  (see Pointers) I need to make sure that I consistently Harvard reference all my sources. Maybe to make sure this is done as soon as I find some information that may be useful, I Harvard reference it, that way nothing will be missed.

Be careful when using terms or phrases you are unfamiliar with- checking both the spelling and meaning.  For example in the comparison between Dean and Seurat you write:

‘Dean ……… creating an emphirical essence whereas Seurat’s drawing is quite ‘messy’ and full of movement.’  If you mean empirical this refers to experience and knowledge being acquired through observation and experimentation.  (see Pointers). I will track this part of writing down to edit appropriately.

Learning logs or blogs/critical essays:

Be careful not to waste time transferring aspects of your journal, other books etc to your blog. Try and limit the number of files, journals etc.  Practice being concise in relation to your research material- this will help you to focus and hone down what is of use and most purposeful to your development. For assignment 4 I took this on board and used my written journal more extensively than my online blog. However I think on reflection and looking at my blog, as I sent off my assignment 4 coursework, it was very limited in reflection and analysis and I would like to make it more interesting but concise in information about the exercises and my critical reflection – maybe pin pointing parts in my journal and then write up more of a conclusion on my blog.

I need to make sure that when I am analysing artists work I need to make useful connections of how their work will inform my drawings, perhaps bullet point actions I will take forward. I also need to expand on my vocabulary when reflecting on my work and others. I need to be constructive and analytical. This is something I really tried to work on during assignment 4 and made a conscious effort not to repeat phrases. My reflection needs to be more extensive and continue to ask questions ‘why?’ does it make you feel like this? or why does it work? what makes it work? etc. I feel I answer these questions, but only, simply to answer them rather than the reflecting fully in a way that will help inform my next piece of work.

Suggested reading/viewing:

  • Cy Twombly (reflected on in part 4 sketchbook)
  • Xavier Grau
  • Oliver Zwink (reflected on in part 4 sketchbook)
  • Julie Meehretu – Jackson Pollock, Joan Mitchell (reflected on in part 4 sketchbook)
  • Carry on working through Kaupelis

Assignment piece edited – thoughts through the process and reflections:

Before I had done anything to the piece I considered it quite striking. The darkness of the piece would catch my attention but the closer you get to the drawing there wasn’t much detail. There wasn’t any interesting aspects to look at. I tried to overcome this problem with the use of mark making from close up’s of organic material but, as my tutor mentioned, I don’t think this aspect of the piece was planned enough and on the actual drawings, the detail looks quite scruffy and considered rather childish. Rather than combine city and rural/organic, I decide to take my time over detail and layer drawings of the city – taking an idea further.

Wednesday 26th July

Today I started with introducing a bit of sculpture to my assignment 3 work – using links to Oliver Zwink and also inspiration from something that I had seen in a shop. I have been using kebab sticks and a glue gun to put together a sculpture to form shapes and angles of which imitate my drawings.

I am overlapping the kebab sticks creating a sense of confusion and a disjointed scene. This process is helping inform other ways of how I can see my drawing develop into something different, the more I add to the sculpture.

I was thinking of cutting the sticks down, to make it a neat and controlled, snipping the ‘sticky out’ edges but I quite like how this adds to the jumbled idea of a city. My tutor recommended to take apart my assignment piece and play around with the composition. I considered and discussed this option with my boyfriend of which I said ‘but its meant to be like this. There is a flow and your eye travels through/across the piece’ and then I thought maybe that is what my tutor is trying to say not to do. Consider the idea of picture making at a deeper level and the idea I am trying to convey in regards to movement, confusion etc. The sculpture I am creating plays with this idea in response to


 composition having to make sense, having to form a pattern or a story as you read from left to right.

– overlapping lines

  • underneath/on top/intertwined
  • i’m noticing that I am not being as ‘precious’ about the lines I am making – i am putting them together randomly but with a subconscious effort to take ‘the lines further’

Whilst forming this sculpture I was learning and understanding how I was putting each part together. I think this has led me to use these skills and ideas to improve my assignment piece and perhaps ‘let go’ a little more and enjoy the process, see what happens at the end. Something I had noted about what my tutor said was to play around with composition. I was apprehensive to take apart my assignment piece but I think it is important to create a more relaxed approach which I feel I have done with my sculpture. Even thought the kebab stick sculpture does look like buildings it has informed a process of how to use angles and lines differently.


I decided that my assignment piece was motionless. There wasn’t any real sense of movement that I was desperate to portray. There is no emotion, no feeling, its bland. I feel this is because the various aspects of the piece are competing with each other. The charcoal is too heavy and dominates the piece too much which then means my pencil drawings are lost and actually look like they are just stuck on, to simply try and get some drawing in there! I wanted the clouds to create a dramatic effect and emphasise the movement in the piece but that idea is completely lost, perhaps there is just too much going on without having enough details to provide interest to the viewer.

On reflection, considering the shiny surface of the pencil on charcoal I had an idea bout reflection and how to add to the chaos. Or do I want to come away from that chaotic scene?

From assignment 4 I developed a strong connection and willingness to understand gestural drawing. Recently I took a walk around the city whilst making mental notes of how the city was making me feel. I was walking through a narrow street with tall high-rise buildings either side. I felt intimidated by this scene, it had a very eery feel to it. I am keen take this idea further in relation to introducing and focusing on shapes, sculpture (Zwink).

I believe trying to introduce aspects of rural landscape was rather rushed in trying to juxtapose the 2 settings rather than trying to get to grips and details from one scene – cityscape. Adding in my own reaction to the city and homing in on a more developed thinking process, I am hoping it will be more successful. My aim now is to use those experiences and feelings (learnt form gestural drawing) to aid my refection process and decision making in changing my assignment piece.

Including and taking forward from aspects of assignment piece:

  • scale
  • shape
  • sculpture. Theres no depth to my piece – can I create this through sculpture?
  • emotion
  • transparency
  • layers

A while ago I bought a book full of maps of London. I wondered if this could be a new surface to draw upon. I experimented with this idea a little, whilst completing part 4. I wanted to use my sculpture and considered how I could incorporate this into my piece. I ended up using white acrylic to cover some of the chaotic map scene of the maps, which I planned to do a light wash but ended up being a very heavy application of paint. However I went with it and tried to take away some of the paint with material and my fingers. Then I wanted to use my sculpture to create lines of my piece. I placed my sculpture down and spray painted on top to uncover the lines left by the sculpture. I was then completely stuck in how I was going to use this sculpture in my work.

I decided to be brave and took drastic action to better my assignment piece. I completely agree with my tutor and felt that the piece was rushed and I wanted to incorporate the new artists my tutor recommended I look at from my feedback. I cut up my assignment drawing. I took my tutor’s advice about ‘editing’ parts out and continuing to be selective with my own work. It was quite interesting as in some parts of the drawing, it was difficult to see where one building began and the other ended, so I found myself cutting up shapes rather than buildings, which in itself was the first step in mixing the composition up. Immediately I felt this was so much better. Firstly I like the idea of a collage, and the buildings were placed together but they didn’t necessarily fit together, so I was able to get my head out of it having to be in order. Secondly the white surface really stood out against the dark drawings but they work in harmony – when you are confronted with the blank white space to then move your eyes over to the dark drawings and visa versa.

Once I had stuck these drawings down I decided to turn to photoshop for some inspiration to help with some decision making in regards to layering gestural marks and introducing colour. Not sure about the layered kebab sticks although I feel it adds further detail and a relief effect that the drawing is not so flat. I took some photos when considering how I could use the sculpture with my drawings but I decided to use the sculpture experiment as way of helping me to think differently in regards to capturing shape and line in my drawing in a gestural, free flowing way – to go with the process.

Thoughts whilst completing these experiments:

  • should I cover all the white?
  • should I cover some of the white?
  • when drawing the gestural line it was hard to control on the computer which made me consider perhaps drawing with my left hand in my piece to create a more unpredictable line – link to the workshop I attended.
  • how do I create the gestural line? – draw feelings as I walk through the city. I’m liking the lines and colours but think the drawn original images look like they are literally stuck on and need to be integrated into a new piece?!?! the new surface.

Further experiments:

Introduce colour by adding shapes filling in the gaps (link to Zwink’s work). I am keen to keep with the collage idea and layering of coloured card throughout the piece. Collaging this way has allowed me to make the geometric shapes of the city more apparent. I am starting to visually see and understand what my tutor meant by planning more, so far I’m really glad I re-did the piece. I was considering to introduce shadows to make the drawing look more 3D but referring to mehretu’s work, she uses perspective to gain a sense of depth in her drawings so this is what I plan to do with my layered drawings.

The piece looks so much more animated – it talks!!!! This is what I wanted to convey by movement!

My next step was to combine my ideas of transparency into the piece. I decided to pay closer observation to Mehretu’s drawings and did a small pastiche so I would understand her work on a deeper level and see how I could use her processes in my work. I discovered that there was a lot more to Mehretu’s work in regards to technique and skill that I first thought. Copying another artists work really uncovers a lot more by just looking at it. I noticed how the lines connected with each other, how she created depth and questioned how was I going to use depth in this way with my own images. By doing this process I realised her drawings were a lot more intricately put together. I’ve really enjoyed getting to grips drawing this way and I think my head and hand are finally starting to work together in harmony.

Once I was happy with this process I then put together several pieces of tracing paper to complete a larger scale overlay which was to be layered on the base of the work. I combined aspects and took inspiration from Mehretu’s work, working with my own imagery of cityscape.

The piece was completed with collaged images and paper (maps, card and my own drawings), fine liner, felt tip pen and coloured pencil.

Overall I’m really pleased with the energy in this piece, I think it portrays the madness of city life and I have been able to include my own themes/ideas of, transparency, colour, collage, shape and line. I love that I have been able to introduce colour in a slightly more abstracted way, using shape, layers and collage. I wonder if there could be even more to the piece. If some of the shapes were extended beyond the shape of a rectangle, if all of the white could be covered, if there could be more drawing on the tracing paper? I wonder how much I could push this piece…IMG_9835

(please see sketchbook for artists related to this post)