The Title of my work is: Ura-Sabaku Desert Item
It is a project of continuously emerging drawing analysis: idea, premiss of sequence, layers of form and color. Today I want to tell a story with photos and images, what I have been doing the last 4 months:
This year in July 2020 I received the message from Takata-san with the description of the Art Islands Project 2020, to imagine projects for Oshima and Nishima and to just work online for this.
We were returning from vacation by car, travelling back all the way through Germany from the East Coast to the South, to Munich where I live, passing along large growing areas of hops. Hops is a plant necessary for brewing beer.
Since these impressions got to my mind I have been studying traditional Technique of cultivating hops. Wooden beams get erected to carry a network of metal wires to carry the climbing plants. When the plants are reaching the top of the framework in Autumn, they get harvested. It used to be children´s work in former times to pluck the fruits from the stems.
This is my meditation about constructive premises in the field of drawing with 4 main photoshop drawing tools:
Brush and Pen: (size variable, color open to any source)
Planes: Can be copied, modified and multiplied
Layers: created from planes, their transparency can be modified
Rubber: transparency can be modified
I started my formal research with a triangle, because it is the easiest configuration to create a constructive body for the metal strings.
Each new layer is created upon the underlying plane. The underlying planes´ transparency gets reduced about 20 %, so it will still keep its visual potential, it will subsequently vanish after a series of steps. In the center you can see a pyramid with a square base growing from the bottom to the top, supposed to be created of metal strings. Underneath in light gray tones is the preparation for the final drawing.
Final drawing as a result of at least 6 layers. Two completed stars and a broken star are connected with red lines. The spatial situation is not clearly defined yet, since open situations are necessary to create a wide range of opportunities for further development.
The drawing process starts from the top and goes down to the bottom.
In 2016 we made two visits to the Ura-Sabaku Desert and to Mount Mihara. During that time I have been gathering images and inspiring memories for the future.
The drawing gets implemented in a photo, the red lines are interacting with the green of the grass. The black of the stars is sinking in the black desert dust.
Within a play of images I combined a situation of a group´s peaceful rest with a perspective on a possible land art scenery. Thank you very much to Tono-san, Mamiko-san and to Hitoshi-san.
It is the view to a horizon in infinite distance you can see in the right person. The woman and the man in the middle are driven by the height of the observation point and by details of the microcosm of nature.
This is an icon of that period for the individual experience of human existence towards the horizon of eternity.
The final motive with the stars and the red lines seemed to me worth analyzing under certain aspects of construction and composition. So I decided to make a proper construction scheme of the original figure. The scheme should help to find centers, angles and scales to create a physical scale model or a final sculpture made of material by nature and paint.
The embedding of the stars in circles of the last figure helped me to tip the drawing in a spatial field. The blue-gray lines are playfully imitating remains of a Cartesian coordinate system.
This image gives a vague impression how a scale model made of painted card-board might look like. You may have notice that the color of the lines has changed a bit. I pread the number of hues to get a better overview about the logic of planes and directions.
The following images actually realize Takata- sans intentions to motivate the artists of Art Islands Tokyo 2020 creating hand made esquisses. Since my previous steps where mainly motivated by digital skills, I now began to paint the images with water colors. The schemes where prepared with transparent films enlarged on paper via overhead projection. In three variations I developed a playful arrangement of lines, colors and forms with water colors and color pens. I cut transparent films in pieces and arranged new compositions on the light board of the projector.
This image is a confrontation of the original form with associations to nature and landscape with the strictly geometrical arrangement.
The following three water colors in general focus on the formal relationship between the figure and the ground. Since the medium of water color represents the transparency of the color spectrum and occlusions are physical not possible – each layer will be visible for ever. Overlaying will create new forms.
The Red Lines of the Ura-Sabaku Desert Item are still not clearly defined yet by meanings of material and exact color quality.
Time is running fast and many questions are still not answered.
The stars of the Items for example could be made of burnt branches taken from cut remains of old trees. They might be bent together with ropes of natural material. But the red lines are still a question of material research.
So I decided to use pigments I always wanted to use for experiments. They are so called Day Glow Colors . They create a spectrum of specific reflections of the sun light, hues that are not possible to create with any other pigments.
I painted color samples with Day Glow Orange and used a red plastic band mesh to overlay the ground. I put the image in a flat bed scanner and received this image.
Enlarging the chambers of the red mesh of the scan for many many times creates a macro structure which gets finally represented by this water color.
Micro- and macrocosm flow together in one image.