The exhibition opened officially last weekend and many, many people came to see the drawings of The Severn (both sides). Thank you to those that came along, and the many others who are popping in as and when they can.
I’m getting some feedback from visitors and several people have told me that the collection creates a relaxing space to sit in and think. I’ve also had some fascinating discussions about the drawings, one with a Chinese woman, who told me that they way I have left white spaces – gaps for the viewers imagination to fall into – is something often found in Chinese paintings. I have some information about this and will read more, but so far it is intriguing:
Enlightenments of “White Space” in Traditional Chinese Painting on Landscape Architecture Design by LI Pengyu, GUO Yifan, LI Yi, ZHU Qi
“White space”, originated from traditional Chinese paintings, refers to the blank in a painting without ink. It later becomes a reserve for expressing ideas for author, and a significant artist processing technique for “virtual” serving the “real”, “non-being” supporting “being”. Philosophically, white space reflects the relationship between “virtual” and “real”, “in-motion” and “in-position”. In paintings, the blank does not mean empty, but is a great pursuit for artistic realm
As someone who has always enjoyed exploring the relationship with the real and the virtual, and how we experience both the world and art, the concept of creating drawings allowing for in-motion and in-position thinking. It is both poetic and pertinent.