Unlikely Encounters – My Father on a Scottish Path

I’ve been working on this for a while in my studio, as a way of developing my current project. I have a few things clear in my mind that needs improving, one of them being scale; this piece is by far the largest landscape drawing I’ve completed.

The image I used is of my father walking down a path on the Scottish moors, an image which I chose because of precarious relationship between the individual and nature, (the path was on a steep hill, with a very long drop).

Using this photo begun my thinking around the idea of including a figure in the landscape, a small, comparatively helpless individual, which is self assured in it’s own survival and intelligence, but ultimately still at the mercy of the natural world. I want the piece to bristle with chaos, and suggest the changeability of the natural world, rather than the wonder, or the sublimity, such is the standard representation.

I’m still pushing the idea of visualising hidden forces, this force being the force of chance, and the random and chaotic encounters which can occur as a result, both constructive and destructive motions. Julie Mehretu has been a big influence in this way – her use of simple shapes or “characters” to represent different social entities was inspiring, and its an idea which I’ve drawn heavily from and translated into nature for this project.

In my previous pieces, the grid cells were so large and so few, that very little complex patterns emerged. With this I created a much tighter grid, allowing for complex and incredibly unlikely events to occur. These random geometric curiosities are to my piece, as a skull is to an Old Masters painting. They are a symbol of the hidden forces at work in the environment, which cannot necessarily be seen.

This piece took a long while, and I think I learnt a lot from it, and I’m currently in the middle of creating a large scale support for another piece. This one shall be in oil however, and I hope to experiment with (minimal) colour. A reduced palette is essential for this, if I don’t want it to degrade into complete abstraction.

I don’t want a geometricised Jackson Pollock piece.

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