I draw points and lines as a way of 'being present and making present’.  The drawings are made on paper and are drawn with pencils and pens, sometimes with the aid of a ruler. Each work is developed through a methodical production, in which geometric arrangements, sit alongside the fluctuation of individual touch and tactile experience.

In my practice, drawing is reduced to the elementary activity of placing one mark after another in systematic and intuitive sequences and is essentially an act of going nowhere. This involves weaving small gestures on paper and dwelling close to the surface on which marks are drawn. Making one mark after another over periods of time, leads to a particular awareness in which each drawing can only be made at its own pace.  The drawings cannot be hurried; they have their own rhythm where there is a correlation between the drawn mark and the drawn breath.  Recent visits to Japan have led me to deepen my interests in a practice which focuses on non - representational, reductive strategies to explore and communicate spatial understanding, particularly the Japanese concept of ‘Ma' - the interval, pause or emptiness between structures. 

Some of my drawings are almost invisible, they hover at the edge of perception and test visual liminality. They seem to withdraw from the busyness of the everyday world, yet equally they are as much about the visceral as the visual, touch as much as sight.  Viewed from close up, each drawn point, each individual mark is visible as a small action, stepping back from the drawing each separate mark dissolves in our field of vision leading to a deceleration of perception.

Underpinning all of this is an interest in reductive, geometric and systems based approaches to drawing which I align to meditative practice. I see each drawing not as an object, nor the activity of making as the acquiring of skill, but rather as a process to focus on present moment experience. I see this as being neither self-expression nor conceptually led, (although it does not preclude either) but rather experiential and meditational, as a means of accessing presence - the here and now of the perceptual perpetual present.









Drawing at Gordon House, Margate (photo: Lucy Lyons)

Drawing at Gordon House, Margate (photo: Lucy Lyons)