Sketch: Layered Spaces

Charley Peters, Untitled Drawing (2013), Ink on Tracing Paper

WW Gallery Xmas BOGOF

Charley Peters, Praxis (Interrupted) (2012), Ink on Paper

The drawing Praxis (Interrupted) (above) will be on show as part of the WW Gallery's Xmas BOGOF: 100 artists, 100 pounds, buy-one-get-one-free fundraising art sale. For 4 days (19th – 22nd Dec 2012), WW Gallery will hold this unique sale of art works by 100 emerging and established contemporary artists.

The Xmas BOGOF features an eclectic range of works donated by artists on the contemporary art scene. The participating artists include established figures from major collections such as Deutsche Bank, Saatchi Gallery and the V&A, as well as those who have won or been selected for prestigious awards such as the Jerwood, Threadneedle, John Moores, and Marmite

The principle is very simple; all works of art are £100 and they are all buy-one-get-one-free. The sale will begin with a special private view on Wednesday 19th December at 6pm and will close at 4pm on Saturday 22nd December.

For more information about WW Gallery and the artists participating in the Xmas BOGOF, see: http://www.wilsonwilliamsgallery.com/bogof.htm

Salon Art Prize 2012

Charley Peters, Praxis (2012), Ink on Paper, 100cm x 70cm

The work selected for the 2012 Salon Art Prize is Praxis, a repetitive line drawing. Part of a series of systematic works produced within a defined area, it displays successively drawn straight lines, which suggest movement and depth on the paper surface through the process of drawing.

Studio Views: Unique Inkjet 'Drawings'

Charley Peters, SEcretion (CMYK) (2012), Unique Inkjet Prints on Paper

Above are part of a series of 'drawings' made on an inkjet printer by scanning digitally drawn lines in cyan, magenta, yellow and black. The drawn lines are moved intuitively during the scanning process, causing movement and shifts in scale across the prints. Each colour is then printed systematically on top of the previous one, each output is unique and produced by chance.

Sketches

Charley Peters, Sketches (2012), Ink on Paper

These images are examples of current studio explorations into generative drawing practices. Series of repeated four-sided forms are drawn intuitively over one another, the drawings in part create themselves through the processes employed.

The drawings below are created on Fabriano Pergamenata semi-transparent parchment paper, allowing lines from drawings placed underneath to be seen through the top sheet(s).

Charley Peters, Sketches (2012), Ink on Paper

Sketches

Charley Peters, Sketches (2012), Ink on Paper

These small sketchbook drawings continue the development of the Psychoparadoxa series started in late 2011. In these drawings the black lines move dynamically across the paper plane, creating relationships between constituent elements which are both interconnected and independent.

Charley Peters, Sketches for Pyschoparadoxa (2011), Ink on paper

Charley Peters, Sketches for Psychoparadoxa (2011), Ink on paper

Sketches: Psychoparadoxa

Charley Peters, Sketches for Psychoparadoxa Series (2011), Ink on paper

Studio Views: Work in Progress, Psychoparadoxa

Charley Peters, Psychoparadoxa (Work in Progress) (2011), Electrical tape on wall

Psychoparadoxa are new works on the wall (above) and paper (below) that use the notion of perspective drawing as the starting point for geometric explorations of space. In these examples limited colour is used to both explain and confuse the separate planes of foreground and background.

Charley Peters, Psychoparadoxa (sketches) (2011), Pen on paper

Studio Views: Work in Progress, Interrupted Vertical Lines

Charley Peters, Works in Progress (2011), Ink on Paper

Developments of a new series of drawings incorporating interrupted vertical lines, drawn sytematically parallel to each other. The ink lines are layered in an unpremeditated manner, causing colours to mix on the paper.

Studio Views: Work in Progress, Praxis Series / Grids

Charley Peters, from Praxis series (2011), Ink on Paper

Studio Views: Moiré Drawings

Charley Peters, Moiré Sketch (2011)

 See also:
http://www.charleypetersprojects.com/2011/08/sketches-rupture.html  and  http://www.charleypetersprojects.com/2011/07/sketches-rupture.html

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The word 'moiré' refers to visual interference patterns, which are created when two or more layers of simple dot, line, or grid structures overlap, producing an additional pattern on top of the original layers. Moiré patterns are often an undesired artefact of images produced by various digital imaging techniques, for example when scanning a halftone image, and is often an unwanted side-effect in printing processes.

The term originates from moire (or moiré in its French form), a type of textile characterised by a rippled or 'watered' appearance. In images, when two grids or series of parallel lines are overlaid at an angle, a similar effect is generated. The nonlinear interaction of the optical patterns of lines creates a visible pattern of roughly parallel dark and light bands, the moiré pattern, superimposed on the lines.


In a number of recent drawings from the series Rupture, I have generated moiré patterns through the layering of systematically produced lines. Generally speaking, instances of such visual disruption to images are generated unintentionally through the mechanical or digital processing of an image. As with all drawings rendered by hand, however, my drawings contain random deviations from a mechanically produced constant. Much of my recent work and research has similarly been characterised by such a dichotomy – the tension between the systematic and the uncontrollable, in both aesthetic and process terms, and references to the relationship between the mass-produced image and the unique object.

Charley Peters, drawings from sketchbook (2011)

Exhibition News: Drawing Connections

Charley Peters, Sliver (2011), Ink on Paper

The drawing Sliver (above) can be seen in the forthcoming exhibition Drawing Connections at the Siena Art Institute, Italy, from 24th September 2011. After the exhibition closes Sliver will remain in the permanent collection of the Siena Art Institute library.

Studio Views: Work in Progress, Praxis Series

Charley Peters, from Praxis series (2011), Ink on Paper

(Above) Recent drawings from the Praxis series of systematic repetitive line works, drawn on a smaller scale than other work in the series and exploring shifts in line direction, bleed between masked areas and visual movement created through line positioning. These finished drawings are developed from initial diagnostic works in my sketchbook, which can be seen in an earlier blog post.

Somnolence: Lines in Space

Charley Peters, from Somnolence series (2011), Graphite on Black Paper

The Somnolence series of drawings based on intersecting lines is continuing to be developed in the studio. The example above shows the recent exploration of graphite on black paper to create a somewhat ghostly, semi-lustrous image, with asymmetric masking of the left and right sides of the drawing. Quick drawings in sketchbooks (below) suggest depth and viewing position through the proximity and position of the lines on the page, and illustrate the removal of tight masking from the upper and lower limits of the drawings present in earlier drawings in the series.

Charley Peters, sketches for Somnolence (2011), Ink and Marker Pen on Paper

Grids and Non-Grids

Charley Peters, Untitled (2011), Ink on Paper

Recent work in the studio has been exploring grids and the repetitive application of lines on and across such rigid structures. One example of these gridded drawings can be seen above, in this case successive straight lines are drawn in ink onto white paper. These drawings are still in development, but have led to further sketches where the grid is removed altogether (see below).

Charley Peters, Untitled Sketches (2011), Ink on Paper

In these works the formal composition of the lines on the paper becomes important to suggest movement and harmony between the elements in the drawing - especially in the later exploration of materials where the lines are applied in a variety of media. The final examples shown here employ graphite, ink and paint in the same drawing, on both mid-tone grey papers (below) and semi-transparent paper (not shown).

Charley Peters, Untitled Sketches (2011), Graphite, Ink and Paint on Paper

Sketches: Praxis

Charley Peters, Sketches for Praxis Series (2011), Ink on Paper

The above exploratory drawings from sketchbooks illustrate some recent developments in the Praxis series of systematic drawings, using masking and angled lines to interrupt the drawn surface.

Sketches: Opposing Lines

Charley Peters, Sketches (2011), Ink on Paper

Sketches: Rupture

Charley Peters, Sketches for Rupture (2011), Ink on Paper

The images above illustrate the continuing development of the Rupture series of drawings, which explore the relationship between intersecting lines through monochrome and colour studies. These drawings display a closer positioning of lines than in previous Rupture sketches, each drawn systematically below the previous line in both horizontal and diagonal directions in a manner similar to an inkjet printer generating an image. The pressure and proximity of the lines is not pre-determined, but rather instinctively or randomnly drawn by hand, which suggests movement and depth in the picture plane.

Sketch for Rupture (2011), Ink on Paper (detail)