Ingrid Calame is an American artist based in Los Angeles, known for her abstract, map-like paintings inspired by human detritus.
Calame’s works come from a painstaking process of recording cracks and stains from the physical environment. She first began tracing the shapes, textures and stains on pavements, cultural and industrial sites, reconstructing the places that have been overlooked or disregarded.
#334 Drawing (Tracings from the L.A. River and ArcelorMittal Steel), 2011; coloured pencil on trace Mylar; 285 x 183 cm (112 x 72 in)
Drawings #334 and #346 reveal part of Calame’s intensive process. Calame and her team obtained tracings from the dried-out concrete riverbed of the L.A. River, hand-stenciled numbers on the factory floors of the ArcelorMittal Steel factory floors, and from the cracks in an abandoned wading pool at the Perry Street Projects in Buffalo, New York. These tracings were then assembled and retraced in colored pencil to form the final layered drawings.
#346 Drawing (Tracing from the Perry Street Projects Wading Pool, Buffalo, NY), 2011; coloured pencil on trace Mylar; 183 x 285 cm (72 x 112 in)
“I go to specific locations to trace marks, stains and cracks on the ground on to architectural Mylar. From these tracings I make drawings and paintings. I clean the original tracings and layer them on top of each other. Once I’ve piled up the tracings, I place several rectangles of drafting Mylar on top of them. This determines the size of the drawings I will eventually make. I then start to trace the layers of rubbings that are beneath the rectangles, with a different color pencil for each layer, peeling back the layers one by one until I reach the bottom of the pile. The final drawings are always a surprise.” – Ingrid Calame
Drawings 179, 181, and 182 were generated by tracing the silhouettes of stains found on the streets of Los Angeles.
INGRID CALAME, # 179 Working Drawing, 2005, color pencil on trace Mylar, 176 x 88 inches INGRID CALAME, # 179 Working Drawing, 2005, color pencil on trace Mylar, 176 x 88 inches INGRID CALAME, # 182 Working Drawing, 2005, color pencil on trace Mylar, 88 x 88 inches INGRID CALAME, # 181 Working Drawing, 2005, color pencil on trace Mylar, 176 x 88 inches
In 1918, at the age of 28, Austrian artist Egon Schiele began painting a portrait of his new family. That autumn, Egon, his wife Edith, and their unborn baby died. They were among millions of people who succumbed to the Spanish flu that year. Before his death, Schiele mourned his mentor and friend, the artist …
Day 16 of our 30 Day Challenge in January was: Create something using crosshatch. #crosshatch This prompt produced an exceptional number of great drawings!
Every January, the League sponsors a 30 day creative challenge open to all of you everywhere, working in any media. January 1-30 we’ll post a daily creative challenge to V. Notes on our website. V. Notes subscribers will receive this post in their inbox every day at 7am PST. To receive these challenges in your …
[image_with_animation image_url=”7901″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] I learned from the fabulous Suzanne Walker that this narrative painting “The Story of Joseph” by Biagio d’Antonio uses space as a representative for chronological time. The painting illustrates a story that follows a sequence clockwise around an ellipse, starting at the upper left. The scenes that happened farther back in …
Colored Pencil Drawings by Ingrid Calame
Ingrid Calame is an American artist based in Los Angeles, known for her abstract, map-like paintings inspired by human detritus.
Calame’s works come from a painstaking process of recording cracks and stains from the physical environment. She first began tracing the shapes, textures and stains on pavements, cultural and industrial sites, reconstructing the places that have been overlooked or disregarded.
Drawings #334 and #346 reveal part of Calame’s intensive process. Calame and her team obtained tracings from the dried-out concrete riverbed of the L.A. River, hand-stenciled numbers on the factory floors of the ArcelorMittal Steel factory floors, and from the cracks in an abandoned wading pool at the Perry Street Projects in Buffalo, New York. These tracings were then assembled and retraced in colored pencil to form the final layered drawings.
“I go to specific locations to trace marks, stains and cracks on the ground on to architectural Mylar. From these tracings I make drawings and paintings. I clean the original tracings and layer them on top of each other. Once I’ve piled up the tracings, I place several rectangles of drafting Mylar on top of them. This determines the size of the drawings I will eventually make. I then start to trace the layers of rubbings that are beneath the rectangles, with a different color pencil for each layer, peeling back the layers one by one until I reach the bottom of the pile. The final drawings are always a surprise.” – Ingrid Calame
Drawings 179, 181, and 182 were generated by tracing the silhouettes of stains found on the streets of Los Angeles.
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In 1918, at the age of 28, Austrian artist Egon Schiele began painting a portrait of his new family. That autumn, Egon, his wife Edith, and their unborn baby died. They were among millions of people who succumbed to the Spanish flu that year. Before his death, Schiele mourned his mentor and friend, the artist …
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Day 16 of our 30 Day Challenge in January was: Create something using crosshatch. #crosshatch This prompt produced an exceptional number of great drawings!
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Every January, the League sponsors a 30 day creative challenge open to all of you everywhere, working in any media. January 1-30 we’ll post a daily creative challenge to V. Notes on our website. V. Notes subscribers will receive this post in their inbox every day at 7am PST. To receive these challenges in your …
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[image_with_animation image_url=”7901″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] I learned from the fabulous Suzanne Walker that this narrative painting “The Story of Joseph” by Biagio d’Antonio uses space as a representative for chronological time. The painting illustrates a story that follows a sequence clockwise around an ellipse, starting at the upper left. The scenes that happened farther back in …