I recently flicked through the new Vitamin D2 the recent release from the Vitamin series. I will end up buying this book to match my Vitamin D which I find really useful to flick through when I’m a bit lost for ideas or feeling uninspired.
I don’t use them to ‘steal’ ideas from in a copycat way, just simply flicking through, much like leafing through a magazine in a waiting room, and it seems that by looking at such a varied array of mark making and materials something usually clicks in my head and I have an idea, or a way forward for something I was grappling with.
On my first flick through these were the artists that stood out from the crowd for me.
Dark, dark, dark. Looks like graphite on black paper but I assume it’s graphite and ink. At first you see his work as wonderful textual abstracts but as your eyes adjust you notice they are highly detailed renderings of place.
These works make me want to draw with pencil or Sharpie on thick black construction paper; to experiment with those textures in my own work.
Gibbs uses a grid to describe his subject matter. The grid itself is tonally modeled and the centre of each square is blank. This gives the works an abundance of light and an absence of detail, they almost feel Impressionistic at times. Although monotone, they glow. He works relatively small (A4, A3). I find this an interesting way to deal with the makeup of an image; the print dots, the pixels, the frameworks that often go unseen.
Softly rendered works in graphite and charcoal, monotone and velvety. She uses found and family photographs but eliminates or distorts the information in them to suit her own purposes. They feel like photographs, like memories, but act like drawings, a manipulated record of looking, at times indistinct and hazy, intimate and slow.