Corpse/Copse

In the way Auerbach may scrape off all of a painting at the end of the day, I have been considering what would happen if my layered drawings were worked back into with an eraser until only the faintest trace remained, an inconclusive document of process. Switching to charcoal allowed me to work back into and erase my images much more easily. I became aware that the trace on the paper was not the only evidence of process, during the making of this first work a large quantity of rubbings out and charcoal collected at the base of the picture. My first thought was to exhibit the 'empty' drawing suspended in the middle of an exhibition space with the rubbings out piled beneath.

Corpse - Charcoal on Paper

The result was the above document of a process. I then began questioning how seeing the physical time based drawing process alongside such 'after' images could inform and alter the viewers reading of these empty works. The result was a series of stop frame animations I devised to be projected back onto the new empty canvas/screens on which they were made.


LLOYD EVANS - Corpse1 from Lloyd Evans on Vimeo.


LLOYD EVANS - Corpse 2 from Lloyd Evans on Vimeo.


LLOYD EVANS - Corpse 3 from Lloyd Evans on Vimeo.

Initial Drawings & Palimsest

Keywords: Familiar - Unfamiliar / Palimpsest / Landscape
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.    

DRAWING 9 (AFTER GREUZE/GREUZE), 2014

ink on polypropylene -50 x 38 cm, framed 72 x 59.5 x 3 cm

Palimsest

Pronunciation: /ˈpalɪm(p)sɛst/
1. A manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing.

1.1Something reused or altered but still bearing visible traces of its earlier form:Sutton Place is a palimpsest of the taste of successive owners

http://www.oxforddictionaries.com/definition/english/palimpsest

Sonification

Below is a link to a promotional video for 'Sonification' in which my Au Courant image is used to create sound and also mixed with an image by another artist.



https://www.youtube.com/watch?v=xQtx_C23oOU

Below is Sonification event organiser Oliver Squirrel introducing the performance at the UCS Waterfront Building.

Slide projection & Film

Throughout my investigation I have been experimenting with both analogue and digital processes, within the independent Arts practice module my focus was on building digital animations using AfterEffects. The results of these experiments were mixed and the process of making these work was at times prohibitive to my way of working. The final animation produced for Letheringham Lodge was little more than two linked slide shows. This started me thinking about using 35mm slide projectors in my work. I have started collecting various models which I intend to experiment with in the studio.

I see the analogue technology of projection as a much more hands on tactile medium. I consider this being more sympathetic to the hand drawn organic imagery I am now developing.

I have also managed to get hold of 8mm and 16mm film projectors. I intend to experiment working directly on film alongside my experiments with slide projection. The work of artists such as Norman McLaren, Len Lye and Guy sherwin continues to play on my mind  and I see experimentation in this was as the next logical step in the development of my work.


Below is a link to an article on from the Tates's website about the medium of 35mm projection
www.tate.org.uk/about/projects/dying-technologies-end-35-mm-slide-transparencies/35-mm-slide-medium

Final Exhibition Module - Synopsis of study

Key questions:

• How do the haptic qualities of analogue technologies affect dialogue with the viewer? 
• What are the interrelationships between context, concept, and time, and how can I bring these elements together in my work? 
• How are aspects of a contemporary Sublime centred on obscurity and the void made manifest in my work? 
• How can static images evoke notions of time through mark-making and layering? 
• What are the interrelationships between the emergent outcomes?

Keywords:

Analogue-Digital/ Haptic/ Sublime/ Sequential/ Experiential/ Mark-making/ Automatic drawing/ Layering/ Defamiliarised/ Landscape/ Sensation/ Projection/ Phenomological

Development:

In the Exhibition/Research Module I intend to extend ideas I have started developing within Independent Arts Practice. As a starting point I intend to make a range of large scale drawings, using landscape as a stimulus to inspire pictorial qualities of mark-making, texture, and form. Representational imagery will be further developed through intuitive mark-making and layering, considering how the balance between representation and abstraction, the familiar and unfamiliar can be used to extend a dialogue with the viewer.

Throughout my investigation the relationship between analogue and digital processes and their resultant effect on the viewer has been a recurring theme. In this module I intend to further question how the haptic qualities of analogue processes and technology affect our engagement and response. In the first instance I intend to experiment with slide and film projection, projecting my hand-drawn imagery to create multi-screen arrangements or installations. I view my recent installations as ‘experiential sequences’, and will continue to explore how context, content, and time can be combined in a symbiotic relationship.

The role of the viewer will also be considered, looking to ways the work can be effected/generated through active or passive involvement. Questioning the concept of uniqueness or ‘aura’ will continue to be central to my practice.
Generating a core body of work I will look to create a range of possible outcomes which may include projection, drawings, and prints. Unlike in Independent Arts Practice I will not seek to create site specific works but instead look to manage the environment, creating sympathetic conditions in which the work can exist. This links back to work produced in my Concepts and Context as well as Professional Development modules. I see the development of my work taking place primarily within the studio, as I experiment combining/layering images and processes.

Indicative reference material:

Pavel Buchler - ‘Eclipse’ 2009 – Installation at Max Wigram Gallery, London
Julia Mehretu - Fever graph (algorithm for serendipity), 2013
Mogamma: Part 2, 2012
Ian Mckeever – Waterfall, 1979.
Cy twombly – Leda and the Swan, 1962
Guy Sherwin – Paper Landscape, (Performance) Paris, 2006
Norman McLaren – Pas de deux, 1968
Takashi Ishida – Installation at Taka Ishii Gallery, Tokyo. 2012
Len Lye – A colour box, 1935
Vesna Pavlovic – Search for Landscapes, 2011 & Display, Desire. Christie’s Rockefeller Center, New York. 2006/07
Gustav Metzger – Liquid Crystal Evnironment 1965, remade 2005.

Texts
Groom, A (2013) Time. London, Whitechapel Gallery
Morley, S (2010) The Sublime. London, Whitechapel Gallery

Ed - David Curtis, A.L Rees, Duncan White, Steven Ball (2011) Expanded Cinema: Art Performace Film, Tate Publishing

Giles Deleuze (1989) Cinema 2, Continuum
Giles Deleuze (1986) Cinema 1, Continuum

Sigmund Freud translated by David McLintock (1998) The Uncanny, Penguin
Ed JJeffrey Kastner (2012) Nature, Whitechapel Gallery
Brian Massumi (2002) Parables for the Virtual: Movement, Affect, Sensation, Duke University press