Threshold Series 1 Developing Drawings / Drawings in Transition 2008 - 2015
The historical thread that runs through these drawings can be traced back to six square paintings made in 1999 (see 'paintings' Thresholds 1 -6). The arrangement of vertical and horizontal lines within the paintings, referred to a specific interior door. A room behind this door projected a line of light across the floor, and established a clear 'threshold' between the observed space and imagined space beyond.
It was not until 2008, that a group of drawings, centred on a square format, began to emerge. Using the door as a motif and metaphor to illustrate an entrance or barrier to another place, and retaining the notion of a threshold as a pivotal line to cross; became the two central templates that define the drawings identity.
The drawings are architectural in that they involve space and the relationship between spaces/levels, but have an uncertain dialogue with the issue of scale. The strict rules of technical drawing are set aside, as the aim here is with establishing an 'emotional space' and not a physical one. Their ambiguity of positive/negative, solid/empty, encourage that they be read as 'plan' or 'section', or even a fusion of both. Lines and marks thatenter a zone beyond the central drawing, direct and change the boundaries of the work (rejecting the conventional rectangle of paper), altering the compositions anatomy, and in turn transfering the drawing to the realm of 'object'.
The use of the square is constant, sometimes hidden within the composition, sometimes multiplied by two or three; but the drawing always starts from a singular square, with the ability to extend itself in any direction. Also throughout the series, crosshatching is used partly as a layering device, but is mainly a method of acquiring territory within the drawing.
It is easier to give drawing measurments by the initial starting square of the compositions, which are either 6cm or 4.5cm. The pens are 0.1 and 005 and are permanent archive ink on cartridge paper.