move

pencil in sketchbook, a4, 2014

pencil in sketchbook, a4, 2014

ghoul

Everybody knows how like the street the two dinner-rows of people who take their stand by the street will be. The expressionless uniform twenty houses, all to be knocked at and rung at in the same form, all approachable by the same dull steps, all fended off by the same pattern of railing, all with the same impracticable fire- escapes, the same inconvenient fixtures in their heads, and everything without exception to be taken at a high valuation–who has not dined with these? The house so drearily out of repair, the occasional bow-window, the stuccoed house, the newly-fronted house, the corner house with nothing but angular rooms, the house with the blinds always down, the house with the hatchment always up, the house where the collector has called for one quarter of an Idea, and found nobody at home–who has not dined with these? The house that nobody will take, and is to be had a bargain–who does not know her? The showy house that was taken for life by the disappointed gentleman, and which does not suit him at all–who is unacquainted with that haunted habitation?

Charles Dickens, Little Dorrit.

there are some characters in literature that achieve a phantasmagorical, and – in this case – a ghoulish status in a culture. in society. ‘little dorrit’ presented mr merdle. he is inseparable from the city of london, as is the cheap cladding holding together the hastily erected blocks of flats ‘regenerating’ it’s south east.

pencil and oil pastel on paper, 180 x 160 mm 2013

pencil and oil pastel on paper, 180 x 160 mm 2013

 

 

hard wire

watercolour on paper, a3, 2014

watercolour & graphite on paper, a3, 2014

 

drawing from a tai-chi class. experimenting.

BENEFITS

WALTER: Look at them! Do they give a fig about the benefits of illness?

The Piano Teacher, Michael Haneke.

trailor

 

lots of irony to be had here.

and lots of very beautiful music. and art.

pencil, & graphite on paper, 297 x 420 mm, 2014

pencil, & graphite on paper, 297 x 420 mm, 2014

 

landform.

harderfaster

pencil, graphite & oil pastel on paper, 297 x 420 mm, 2014

pencil, graphite & oil pastel on paper, 297 x 420 mm, 2014

 

opening up the possibilities of my drawing; & running through my own glimpses of landscapes.

times

pencil, graphite & pastel, 297 x 210 mm, 2013

pencil, graphite & pastel, 297 x 210 mm, 2013

hand of glory ii

Estragon: What about hanging ourselves?
Vladimir: Hmm. It’d give us an erection.
Estragon: (highly excited). An erection!
Vladimir: With all that follows. Where it falls mandrakes grow. That’s why they shriek when you pull them up. Did you not know that?
Estragon: Let’s hang ourselves immediately!

Samuel Beckett, Waiting for Godot.

again

pencil and pastel on paper, 210 x 297 mm, 2014

pencil and pastel on paper, 210 x 297 mm, 2014

 

‘hand of glory’ is thought to be derived from ‘mandrake’ as folk etymology might have it, & mandrake seems to be related to fertility, sleep, hallucinations, & death.

 

the root of the mandrake is the shape of a man & screams when dragged from the earth

door

pencil on paper, 297 x 420 mm, 2014

pencil on paper, 297 x 420 mm, 2014

a toad.

 

 

 

mute before watching: http://youtu.be/eG2MhTEjIcM

landscape

 

 

http://news.nationalgeographic.com/news/2008/03/photogalleries/Antarctica-pictures/photo6.html

 

pencil, graphite & watercolour, 297 x 210 mm, 2013

pencil, graphite & watercolour, 297 x 210 mm, 2013

 

a hill of somesort.

nude

graphite on paper, 260 x 220 mm, 2014

graphite on paper, 260 x 220 mm, 2014

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