In preparation for the drop-in cyanotype session I’m running on Sunday at Cardiff Print Workshop, I arranged some plant life and other things onto coated paper and left it to make its mark in the sunshine. Here are the results.
Automatic drawing or painting can be described as “expressing the subconscious” using any technique that eliminates conscious control and replaces it with chance. The basic techniques originate from spiritualism, practiced by artists such as Georgiana Houghton and Hilma Af Klint, both of whom have recently had their work exhibited in a revival of interest and appreciation of automatism and early abstraction.
Surrealists such as Andre Breton and Andre Masson, were keen to experiment with automatic drawing and promoted it as an art movement. By this time, ofcourse, psychologists of the unconscious had dismissed the idea of spirits speaking through the artist: it was the subliminal self that could express itself in ways that could lead to the development of real artistic genius. The new interpretive framework was now wholly secular and based on the insights of psychoanalysis, but the basic techniques were adopted from spiritualism.
Whichever way you wish to interpret it, drawing randomly without rational control is a good way to avoid inihibitions that freeze the flow of creativity. It is a way to bypass the ‘I can’t draw’ mentality a lot of people develop when the natural artistic confidence of childhood is abandoned.
Making simple marks and considering the relationships between them bypasses jugement by the logical brain about what is “good” or “accurate.” It opens the doorway to the intuition, allows the emotions to be engaged, and allows enjoyment of the pure physical experience of artmaking.
Some of my experiments:
One of Georgiana Houghton’s spirit drawings – The Eye of the Lord (1 Sept 1870), and Joan Miro – Preparations for Birds, detail, 1963.
Continuing to experiment on the backs of carpet tiles that were left in our studio, this painting emerged. I’ve called it World Tree. I used a combination of house paint for the texture, oils and ink.
There is something raw and deeply absorbing about Hannelore Baron’s multi-layered work. Found materials are combined with enigmatic text and abstract figures in her collages and box constructions.
The work suggests both the condition of entrapment and the possibility of release, no doubt informed by her early traumatic experiences of war in Germany in the 1930s. Unlike Joseph Cornell, her box assemblages are not wrapped — or trapped — in the air of poetic-romantic longing. Baron’s boxes and notations insist that the human spirit can persevere, however damaged.
Hannelore Baron website: http://www.hannelorebaron.net/
Cardiff Print Workshop members are making prints in response to the theme of the Chapter Arts Car Bootique, and the Diffusion photography festival, which is Revolution. It was suggested that we do a ‘Homage to the protests of 1968’ (50 years ago next year) using posters from that time as inspiration: simple lino prints in stark black or red.
I struggled to know what to do for this theme, and also with lino cutting which I have only done once or twice. It’s a different way of working – very precise and bold, and it takes a while to work out what you need to leave and what to take away for tone and contrast. I decided to make something in a folk art style, inspired by both the physical : the joy of growing my own food at my new allotment, and the metaphysical : planting the seeds of new ideas, visions and dreams. After all, every revolution must have started this way.