Beyond Repair, 2014, collage, cotton, and netting on paper
In experiencing a sense of distance and lack of control over life, this work was inspired and the sensation fuelled the choice and use of medium. There is no direct mark making involved, only frozen photographic evidence of it, which is pieced together in a reanimated fractured collage. Thread and pins hold the puzzle together to maintain order and prevent the material work and the illusion on its surface from falling apart.
Drawing is a sensibility and action through which I analyse the internal realm and process the external world. A drawing tool is an extension of the fingers, of the body, its movements of which is responsive to one’s state of being. As a form of expression, drawing has an immediacy where marks can suggest sensitivity, boldness, obsession and much more. In understanding oneself, one’s own mind and emotions, it is made possible to empathise and communicate with others. Society consists of individuals experiencing individual psychological and emotional processes, yet we are able to connect like a network which allows society to function.
Ones’ state of being is a reaction to the conditions of one’s personal life, which is affected by the opportunities, restrictions and morals of society, which above all is influenced by cultural issues and political decisions. Although not openly political, this ripple effect triggers a personal response, which in turn inspires the work I create. The drawings are intuitive, are explorations of biological/psychological/philosophical ideas, as well as records of the journey through my existence.
Cultivating this primary resource often leads to drawings that resemble maps, cosmic realms, banks of data, and unidentified organisms. The drawings are often complex, sometimes existing as a history of mark making language which constructs and evolves over time. The working process of application and erasure, of layering and penetration, can lead to a battle between intimate concentrated moments of focus and overall pictorial space.
Profile of the Artist: Abbie Phillips ASGFA
Born in Gloucester in 1992, Abbie currently lives and works in London. Abbie graduated from the University Of Gloucestershire in 2014 with a First Class Honours degree in Fine Art Painting and Drawing. She was encouraged to submit to the Society after members saw her joint show with Ira Hoffecker at the Menier Gallery, London. Abbie was elected as an Associate SGFA in 2015.
Charlie Kirkham SGFA is Editor of the Society of Graphic Fine Art Journal and a contributing writer. Charlie’s studio is based in London where she draws and paints. For more information please see www.charliekirkham.com