graphite & putty eraser, with watercolour/30x20cm
This latest drawing in the 'roadkill' diptych series, processed from found subject/object matter as habitually, features another synecdochal fragment of brand identity in the form of the imprinting of a named colour onto both the object & picture plane, which again calls to mind the example, within numerous works, of Jasper Johns.
Related to the subject of once again making a certain 'colourful' reference-by-association, another browse through the Jasper Johns 1996 MoMA Retrospective catalogue unearthed a find that somehow had failed to register previously, most surprisingly so under the circumstances of the ongoing sequence of 'roadkill' diptych drawings.
What has become the habitual use of hatch-marked grounds as a formal aspect of the drawings of course owes & displays an obvious 'inspirational' referential debt to Johns' use of such a device in many a work, but note also in this particular example the recontextualized (re)appearance of a graphic representation of his pair of Ballantine Ale cans, originally a sculpted bronze object, but - given the artist's tendency to revisit, re-utilize & reconfigure his iconic, signature imagery, objects & themes - subsequently recurring in other media, as in the case of this ink drawing, on numerous occasions & recombinations.
More of Johns' work to which the diptych drawings' grounds (dark to erased light, left to right) display an obvious affiliation may be found in the following particular examples, variations on his 'Tantric Detail' theme, the first a charcoal drawing & then numbers II & III oil paintings...
Soundtrack:
Jesca Hoop 'Hunting My Dress' & 'Kismet'
Mark Mulcahy 'Fathering'
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