Last week’s constellation day on Thursday we took to Llandaff fields, braving the raging Storm Doris and the threat of rain to create indexical drawings. Indexical drawings record that something has happened and document the activity involved rather than being ‘icons’- resembling the thing they are drawings of or being conventional symbols like music notation. It could be argued a piece of sheet music is a drawing of music but we know it has no relation to the way we experience music, it is just symbolic.
The road to the park was scattered with broken branches, victims of the storm the night before and the trees above us swayed precariously. However, we decided to use the blustery weather to our advantage, harnessing the power of the wind to create a drawing that would be impossible to capture on a clam day. Our group of four gathered together our tools – some old violin strings to tie things together, brightly coloured sharpies to draw with and sketchbooks to draw on. We were attracted to the movement of the trees swaying but how could we capture this energy and activity when the branches were meters above us? In one corner of the field we spotted a sapling, about four feet tall and decided to use this tree for our exercise. We tied a couple of marker pens to a swinging branch, held a sheet of paper underneath then let nature do its work.
The image below shows the results of the branch’s movement over 10 minutes. As the wind blew the plant, the sharpies swayed over the paper in a random pattern, stopping and starting, tapping here and there then sweeping over in long calligraphic lines like a miniature Jackson Pollock. What is the result? A collaboration between uncontrollable natural forces and human intervention? A drawing of what wind looks like?
Danish-Icelandic artist Olafur Eliasson made a fascinating series of kinetic drawings called ‘Connecting cross country with a line’ (2013) in which a drawing machine drew’journeys’ between train stations. An ink coated ball rolled around a sheet of paper, documenting the topography of the country as the train winded and juddered. The varying darkness of lines as the ink runs out is beautiful.
The randomness of line quality in both our work and Eliasson’s reminded me of a workshop I took part in a few years ago with artist Zoe Robertson. We set off machines that vibrated, filled with felt pens onto a sheet of paper and they created abstract patterns of coloured lines, pooling where the robots got stuck and forming dotted, tentative lines where the pens weren’t laid flat.
These unconventional methods of drawing are exciting and I like their move away from dependence on human agency to create them. I think it’s the same reason I like the unexpected results of raku and saggar firing. The lack of control makes the outcome feel like more of a collaboration between myself and the forces of nature rather than forcing materials to my will.