Further collating, recording and building the evidence

I am continuing my investigation of St George's Square, Huddersfield. the current phase of thinking is very much around the capturing of information. I realise that I need to gather evidence both pictorially and image based together with historical cultural and social evidence. My strategy so far has been about looking for areas that gets my attention.

However I'm conscious that another tactic may be to actually look for what is not supposed to be in this space. In other words what does not belong here. I will try to focus this week not only on collecting information and evidence but also collating which involves a certain amount of clarification. In other words what the images mean? - An analysis at a high level.

Thinking further about what is available, what other resources can be pulled together? is time for me to consider materials, fabrics, pictures?

 Whilst I have used drawing order to get a likeness, (images), by transcribing the visual drawn language in my scrapbooks, I should not overlook the whole picture, often described as the Gesthalt.

I also want to spend sometime this week exploring methods of recording. I naturally use pencils or pens or paint to delineate and image, - this is is often automatic, - but what else can be used as an agent?

examples;
peoples footprints across wet paving stones = is arguably a type of drawing.

It is information like this that I need to find, in order to find interesting drawings in themselves. -
Other examples might be stone or glass or steel reflections in water. The items considered as more ephemeral source. Or, I can look at things of that left behind? - such as routes taken by people, or dogs, pigeons, or dustcarts, -

 or even the trace left by people's discarded chewing gum!




Another area for study is to define the identities of "place". In other words what is the relationship of buildings to the locality? or within its own space? - Are there architectural changes occurring? =  building works, or character?

I will look for what is termed binary oppositions such as good or bad buildings, or hard or soft edges, or happy and sad places; or kind or aggressive or mean images within the viws etc

Art research in this sense is about curiosity and exploration which equals experimentation!

My drawings this week can take form as line, shape, texture, surface, pattern, space or scale. Equally valuable would be colour and rhythm too.

I want to consider how surfaces can be constructed in drawings both into dimensional and three-dimensional narratives.

Towards the end of this week and starting next week I will begin to analyse the data gathered so far.
I can then create drawings by linking with cultural and historic or social narratives, which might provide me with personal interests and my own unique interpretations.

Examples of similar artists exploring this domain would be people like
Hunter Coln; this artist uses bio-luminescence relies on the reflective qualities of projected drawings from bacteria.

or Hugo Crostthwaite; who has created a video called a living drawing... One work called Drawing Tijuana", which is a representation of the cityscape, and people being trapped within the city and their own narrative portrait.

I think it will also be worthwhile for me to look at an artist called Dennis Cranfield. He produced a work called "Seated", which is a video of a book of photos of spaces. This explores the notion that the seated figure, with regards to a chair within an architectural space.

Whilst I have looked at the work of Paul Noble previously, and his amazing visions of dystopia, he remains a very interesting source of art in this sphere of current research.

Finally, it has been recommended that I also look at the Grand -daddy of contemporary Art in the 1900s, - Duchamp, - and the piece "The large glass drawing".