We interpret sculptural form through tonal variation over the surfaces, the play of light and shade defines the undulations, edges and textures. To draw sculpture I would usually use graphite or charcoal ground into the paper, lifted off, built up, generally pushed around, sharpened up and cut back until the image emerges. Like making sculpture, it is a direct, very physical, tactile approach to producing an image, very similar to modelling up in 3D. The sharp, rich carbon black of the laser printed images of the NAJ is most effective in high contrast black on white, so we don’t use tones in Journal drawings. Artists can trick the eye into seeing tone by using hatching or dots, but I don’t have the discipline for that, hence the slashing lines, splashes and splatters. It is still a sculptural approach, a constructional process; black on white, then white to chop out some black, more black, more white until those pesky tones are beaten into submission.
To see all his NAJ drawings and the range of other work, follow the link to Andrew’s website.