In another, pools of clotting ink erased portions of the drawing that outlined the architectural structure.Each drawing unfurled across rolls of paper – the largest I could find – before being rolled back up again and put into storage. My attempts to make them less so – to make them ‘abstract’ perhaps – made them instead seem fudged, almost contrived (fig.1).
I layered them one on top of the other, starting with the front door: 3 Redacre Road.
I wanted some way of recording or tracing these unconscious movements, to catch the things I did, the gestures I made, all those things I did not know about, did not consciously think about.
With this in mind, I took out another roll of paper, extended it across the length of my studio (which is four metres long), and tacked it to the wall.
I took a spirit level, a hammer and a plumb bob filled with black pigment made from the ash of vines.
With the spirit level I drew a line across the length of the paper, close to its upper edge.