As a starting point I created a series of large scale representational drawings, the idea was that they would be scanned and digitally layered to make images akin to my Letheringham lodge 'combined' drawings.
However during the process of creating these images I started to experiment layering the drawings, overlapping, rubbing out and reworking. I also began to reintroduce abstraction through mark-making to see how far I could push the works while still evoking a sense of the source material.
I was much impressed by the layered drawings of Glenn Brown I had seen in the exhibition 'Colateral Drawing' at UCS Waterfront gallery. In these works multiple 'Da Vinci' portraits had been layered to create fractured images with multiple viewpoints. These multiple perspectives seemed to evoke a sense of duration/time which had started to appear in my Letheringham Lodge drawings. As I begun the layered drawings above I very much had this image in my mind. However I was also aware that a face presents a more recognisable defined object than a tree. Ears, eyes, mouth etc.. all have their place, layering these elements from different perspectives can't fail to walk the line of 'Familiar / unfamiliar'. However trees organic and unique structures might struggle to function in a similar fashion. Using a large rubber I was able to 'carve' back into the drawings, I was interested in how textures made in this way created new rich surface qualities.