The Artist_s Magazine 2016-03__

16 http://www.artistsmagazine.com

drawing board BY JOHN HAMPSHIRE

FORTHEPASTSEVERALYEARS

I’ve been painting and drawing

usingalanguageofgraphicmark

making. For drawing, I established

arule:Ican’tcrossanylinewith

another. Following this rule con-

tinually reines the space—in other

words, as I add lines, the surface

is divided into smaller and smaller

spaces without marks.hese smaller

areas act as progressively diminish-

ing containers, necessitating smaller

lines and more time to make them

carefully. his incremental progres-

sion from large to small, fast to slow,

gestural toreined, corresponds to

theorderinwhichIbuildinforma-

tion: general to speciic. I started

this process in the mid-90s by

using marks, sometimes symbols,

to make portraits (seeSelf-Portrait,

at right). In order for the symbols

(tear drops, arrows or molecular

structures) to remain legible, I had

to impose my now-standard no-line-

crossing rule.

I’m interested in achieving subtle,

transient changes of light, like those

one would see in a charcoal drawing,

but doing so with graphic materials

typically not associated with soft

changesoflight,suchaspenand

marker. I create seemingly opposing

qualities: atmospheric imagery with

graphic, linear materials; represen-

tational

images

using a

language

of abstrac-

tion;

and fast,

energetic

move-

ment with

meticulous

andslowmarkmaking.hisinclina-

tion may stem from my background

in math, which involves abstracted

conceptualizations of the world. 

JOHN HAMPSHIRE is an associate professor

of art at SUNY Adirondack. Recent awards

include the 2011 New York Foundation for

the Arts Fellowship; SUNY Chancellor’s

Award for Excellence in scholarship and

creative activities; and the Dr. Arthur C.

Collins ’48 Purchase Award, University at

Albany Alumni Association. See more at

johnhampshire.weebly.com.

A Circuitous Route—

Into the Labyrinth

With lines mimicking the erratic nature of weather, an artist interprets the wind’s fury.

ABOVE: Hampshire’s Labyrinth 291 (Sharpie

on panel, 32x80) is an energetic example of

his use of small lines to convey big emotion.

BELOW LEFT: Self-Portrait (acrylic on panel,

14x11)

See demonstration,

pages 18-