Pentimenti – italian term, from the word meaning ‘repent’; refers to the lines or marks which remain after an artist corrects his/her drawing.
As the making of my work became quite performative it also became apparent that once the paintings were finished all that remained was a static object in which the process of the image’s creation was lost. Looking at the work of William Kentridge and early David Lynch films or ‘moving paintings’ such as ‘Six men getting sick (six times)’ as well as the animation sequence from ‘The Alphabet’ I became interested in the possibility of creating some animation pieces derived from the processes I had been using to make earlier paintings. Nevertheless I decided upon producing these animations via large scale charcoal drawings rather than recreating the previous ink works, mainly due to the fact that I found charcoal to be the most versatile and accommodating medium to create multiple drawings within essentially the same drawing.
The intention to layer drawings directly on top of each other as well as merging each drawing into the next echoed the anticipation for the work to exist as a documentation of the formation of the drawing itself. The remains and fragments of earlier drawings could then exist alongside more recent imagery allowing the drawing to become a work within itself as well as a series of traces mapping past movements and processes. Photographing each stage of these drawings, the traces of my movement and their creation, I had begun simultaneously producing a body of work consisting of drawings which could co-exist beside the ensuing animation pieces documenting their formation. The work had at this point developed into a unique history of the drawings’ coming into being and immediate erasure.
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