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Image 1 of 1
Image 1 of 1
Image 1 of 1
Graphite and ink on watercolour paper, 9 × 12cms
water moteur (ii) extends my Drawing with Water research from the UK Drawing Correspondence Residency into a more specific, steady pulse: the horizon line in flux, measured against the meniscus of water as a constant rhythm.
Working in graphite and ink, I tracked how the horizon refuses to behave like a fixed boundary. It tilts, slips, thickens, thins, dissolves, reappears, not only because of viewpoint and motion, but because water itself is always negotiating its edge. Against this shifting register, the meniscus becomes a metronome: a repeating persistent arc that holds time.
In this work, the horizon is treated less as a line “out there” and more as a moving condition, continuously recalibrated by the water’s surface. A notation system evolves into a scored observation of micro-level surface behaviour. water moteur (ii) is, in effect, a drawing practice of thresholds.
Graphite and ink on watercolour paper, 9 × 12cms
water moteur (ii) extends my Drawing with Water research from the UK Drawing Correspondence Residency into a more specific, steady pulse: the horizon line in flux, measured against the meniscus of water as a constant rhythm.
Working in graphite and ink, I tracked how the horizon refuses to behave like a fixed boundary. It tilts, slips, thickens, thins, dissolves, reappears, not only because of viewpoint and motion, but because water itself is always negotiating its edge. Against this shifting register, the meniscus becomes a metronome: a repeating persistent arc that holds time.
In this work, the horizon is treated less as a line “out there” and more as a moving condition, continuously recalibrated by the water’s surface. A notation system evolves into a scored observation of micro-level surface behaviour. water moteur (ii) is, in effect, a drawing practice of thresholds.