Lendy and I have been trading drawing images lately. She sent me these by Ginny Grayson. Lendy and I often share artworks with each other, some of them end up in V. Notes. We’ve been sharing drawings especially because we both love them so much, and they are underrepresented in galleries and museums. People often want to learn drawing so they can move on to other mediums, like painting. But why? How can an entire medium of loveliness be seen as being inferior to another, viewed as a stepping stone, when clearly they are beautiful and conceptually rich on their own.
Perhaps it is the money. Drawings on paper need to be framed and protected, and often the frame ends up costing more than the artwork itself. Paper and graphite earns 1/10th of what paint and canvas earn (I am making this number up but I am publishing this on the Internet so it must be true), and work on paper doesn’t last 300 years like some paintings do, leaving drawings unprofitable for investors and unaffordable for both the artist and the gallery. What a pity.
And yet drawings are wonderful to make, and lovely to look at. So much is learned and experienced through drawing. I have deep reverence for the sound of charcoal on paper in an otherwise quiet room. The soft brush of charcoal on paper is the sound of focus and curiosity. The process of drawing is the process of seeing, and that is not unlike the experience of falling in love.
On the artist’s website, Ginny Grayson says “(…) my preference has always been for the works that look more like a smudge / pile of dust, then the form slowly becomes recognisable. It is the process of working with the medium, mistakes and what evolves that I find most rewarding.”
This is one of the first drypoints I made. I was experimenting with freeflow lines, which is much more difficult to do with a pointy scribe than it is with smooth pencil graphite. The friction in the scribe tends to make me draw in a more constricted position, my hand clenched, holding the scribe in …
[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” width=”1/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text] I’m in Portland, taking a 3-day figure drawing intensive with Fran O’Neill. I had a lovely day of drawing, and I learned something new I’m excited to explore. In my sketch of the interior, I straightened the beams, …
Thursdays are vocabulary day in our 30 day challenge. Our inspiration is actually two words: smatchet / menge, both from A.Word.A.Day with the incredible wordsmith Anu Garg. smatchet PRONUNCIATION: (SMACH-uht) MEANING: noun: An insignificant contemptible person.ETYMOLOGY: Of Scottish origin. Earliest documented use: 1582.USAGE: “Again he wondered how Mieka could be such an infuriating, impossible little …
This image gave me pause, each figure in their own separated space. I used to see it as introverted and introspective. Now I see it as enforced loneliness and confinement. Call for Art: 6′ of Space Looking for artwork related to your experience in this quarantine. Open to any media (photography, drawing, painting, printmaking, sculpture, …
Ginny Grayson’s drawings
Lendy and I have been trading drawing images lately. She sent me these by Ginny Grayson. Lendy and I often share artworks with each other, some of them end up in V. Notes. We’ve been sharing drawings especially because we both love them so much, and they are underrepresented in galleries and museums. People often want to learn drawing so they can move on to other mediums, like painting. But why? How can an entire medium of loveliness be seen as being inferior to another, viewed as a stepping stone, when clearly they are beautiful and conceptually rich on their own.
Perhaps it is the money. Drawings on paper need to be framed and protected, and often the frame ends up costing more than the artwork itself. Paper and graphite earns 1/10th of what paint and canvas earn (I am making this number up but I am publishing this on the Internet so it must be true), and work on paper doesn’t last 300 years like some paintings do, leaving drawings unprofitable for investors and unaffordable for both the artist and the gallery. What a pity.
And yet drawings are wonderful to make, and lovely to look at. So much is learned and experienced through drawing. I have deep reverence for the sound of charcoal on paper in an otherwise quiet room. The soft brush of charcoal on paper is the sound of focus and curiosity. The process of drawing is the process of seeing, and that is not unlike the experience of falling in love.
On the artist’s website, Ginny Grayson says “(…) my preference has always been for the works that look more like a smudge / pile of dust, then the form slowly becomes recognisable. It is the process of working with the medium, mistakes and what evolves that I find most rewarding.”
See more on her website.
There’s a Tuesday evening drawing class starting October 8th. Who’s tempted? Click here to learn more.
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This is one of the first drypoints I made. I was experimenting with freeflow lines, which is much more difficult to do with a pointy scribe than it is with smooth pencil graphite. The friction in the scribe tends to make me draw in a more constricted position, my hand clenched, holding the scribe in …
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This image gave me pause, each figure in their own separated space. I used to see it as introverted and introspective. Now I see it as enforced loneliness and confinement. Call for Art: 6′ of Space Looking for artwork related to your experience in this quarantine. Open to any media (photography, drawing, painting, printmaking, sculpture, …