Two artists who make work involving walks:
Jane Griseman makes drawings while walking between places that have poignant meanings for her – the Line Journey drawings. She simply records on small pieces of paper the movements of her hand as she walks, and by doing this she not only refers to movement, duration and distance, but also records her thoughts, feelings and memories, rather than making observational drawings of the things she sees. Mourning Walks were made walking between home and a burial ground, in response to a recent bereavement. There are also videos and series of photographs recording walks, for instance between homes she has lived in, or along a childhood beach (trailing a piece of driftwood along her walk and photographing the resulting drawing in the sand) etc. http://www.janegrisewood.com/Drawings/project2.html
Idea for my own work – take large water bottle filled with dissolved charcoal (from forest fire?)and trickle it along as I walk – then look back and photograph my zigzag path, with Hammie, my aged retriever, plodding slowly along behind.
Richard Long has come to be called a ‘Land Artist’. He makes art based on walks he is doing or has completed, and this can take various forms including text, drawing, sculpture and installation, photography. He often intervenes in the landscape, making his work in and of the place itself. For example ‘A Line Made by Walking, 1967, is a photograph of a path made in grass by his feet tramping up and down. Many other works are displays of materials (eg stones) collected from the landscape and arranged in unnatural ways (eg circles)
I like the way he uses text – sometimes just lists of single, evocative words – to record and describe a walk. Here the walk or the journey itself is the art. For example his long distance walks themselves (30 miles every day for weeks isn’t unusual!) become the work, recorded as text phrases describing places or his experiences and actions in the landscape.
Like Griseman, Long makes work that records not only what he sees but also his response to the landscape and his feelings about it. Inevitably much of his work in the landscape is impermanent. According to Guggenheim, since his early work Long has been ‘experimenting with the idea of impermanence, a theme that would inform his work throughout his career’ (https://www.guggenheim.org/artwork/artist/richard-long) . This impermanence is a concept i could consider in the context of my work recording my local neighbourhood. The environment around me is changing very fast, and my place in it will soon also be in the past. In the process of making my work, I will be exploring my own feelings about the place, and my aim will be also to create, or at least reinforce my own memories of it; the work itself will deteriorate over time, but the memory will have (I hope!) a longer life.
Idea for my own work – some arrangement on the land (circle, path or line) made of hundreds of lemons or walnuts
And an artist who makes lots of quick watercolour studies:
There are some massive watercolour paintings on Rossi’s web site at http://www.mariorossi.co.uk/Gallery-2/mario-rossi-circulars.html which are almost photo-realistic textural studies of (what looks like to me) the wake created by a motor boat (maybe a ferry) travelling at different speeds. The supports appear to be made of six strips of paper, each about 40cm wide. I like the idea of piecing together watercolour paintings to make composites; I saw a similar idea at work in Hockney’s exhibition at Saltaire recently. Traditionally watercolour is used on a small scale, but by making composite paintings size can be almost limitless.
Going back to the course manual, I couldnt find Rossi’s watercolours of ‘the restaurants and shops near where he lives’ so contacted him. He very kindly emailed me a pdf of several of these. They were not in fact paintings of restaurants in his neighbourhood, but mainly painted from images found online, so nothing to do with the artist walking around making paintings near his home (suggest the factual error in the course manual is corrected).
However, they are inspiring paintings because theyre painted in a very fresh and direct way, and I can now envisage being able to go out and paint the houses in my neighbourhood, without feeling i have to make perfect ‘traditional’ watercolours.
Idea for my own work – quick watercolour paintings of my neighbourhood houses
References (all websites accessed 23/7/17)