Another 'Roadkill' & the Bigger Picture...

Continuing with the 'roadkill' diptych watercolours, which remain drawings under the surface at least, the translucent layers of paint applied deliberately with the intention of constructing a substantial surface that yet allows visual evidence of both its nature & at least traces of the original, similarly 'all-over' (subsequently mostly erased) mark-making beneath (hence traces of traces).


graphite, putty eraser, wax crayon & watercolour/30x20cm

As is often the case with such found objects, with this one proving & providing an appropriate example, the 'readymade' formal contortions, sharply angled, & overlapping planes affording simultaneous views of top, sides & base, suggest an affinity with Cubism, which in turn 'referentially' informs the short horizontal brushstroked mark-making of the ground/surface, as does this particular subject's predominantly monochromatic metallic appearance enlivened by incidents of warmer colour via the visible fragments of its branded identity.

Considered in numerical terms, this particular example is no less than the 80th of the 'roadkill diptychs', proof at least of the continuing abundant availability of the source found object-subject matter & the visual interest to be found, in turn, in each unique instance of such 'reformed characters'.
Earlier this year, the existing drawings in the series were arranged into a grid-format digital composite (the component cells of which themselves divide visually, tonally & content-wise, into two), & the 'achievement' of the present volume of such suggested an update might be in order, thus...


[digital composite of 80 drawings, each originally 30x20cm]

As one might appreciate, such a chronological composite (reading in the western manner from no.1 at top left across each of the rows to 80 at bottom right) allows an at-a-glance overview of the developmental 'progress' (or critical lack of, perhaps, given what constitutes a not insignificant volume of drawings), the gradual pace of (sometimes regressed from), & technical subtleties to be observed within.
In the context of such a device as this arrangement, note the formal contrast between the regularly-vertically-striped overall pattern & the irregular outlines & shapes of the represented objects.

Soundtrack:


Sparklehorse 'Vivadixiesubmarinetransmissionplot' & 'Good Morning Spider'
Eels 'Meet the Eels'
Emily Jane White 'Dark Undercoat'