investment of nature

stone.1

2 thoughts on “investment of nature

  1. Morag:
    One of our projects was not just talking to each other but also skill swapping and exchanging our practices and Lisa has this practice that involves lithography, using these amazing stones from this single place in Bavaria and drawing on these smooth limestone stones with greasy crayons and ink. I was nervous as I hadn’t drawn for ages, the stone looked so pure and clean and once you draw on it you can’t get it off. I decided to do the bee hole as my lithography print and as this was the first stone, I decided to draw it in close up as it was such a tiny thing and I thought it be easier to get all that detail close up.

    I gained more understanding of why you might draw something not photograph it. At first I felt really out of my depth and I couldn’t do it and felt quite frustrated. Then, after a while I felt a bit like the bee perhaps, when it gets into its groove in making the hole and it all becomes easier. It really chimed with something in Raymond Williams. He was talking about John Clare – a poet just before the Romantic poets, who was also an agricultural labourer – whose writing was full of really close observation of things that he knew about. This chimed with me because drawing really makes you look and you get a different relationship with the thing you are drawing so it becomes almost part of you and your relationship with it.

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  2. Lisa:
    Yes I think it’s very similar to my practice where I base my images on photographs and they are usually very small and very intricate. I often talk about that: actually experiencing the photograph through the drawing; the information that you acquire through that experience is something that you can’t acquire through looking at it and it’s something that people don’t really understand. I feel like I’m almost recruiting people to become part of that idea that you labour though something in order to understand it.

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