New Artist - 2016__

objectivity is an impossibility
in observational drawing. Being
subjective is unavoidable,
because you are using your eyes
and hands to make the drawing.
However, that is not a licence
for inaccuracy or sloppy drawing.
It is essential to allow whatever
you are drawing to speak to
you rather than imposing your
own prejudice. Drawing hands
is a good example, because
they always take on strange
shapes. If you try to impose your
knowledge that all hands have
five fingers and a thumb, your
drawing won’t look like a hand.
But if you draw what you actually
see, then fingers that look like
an unruly bunch of bananas will
appear as a real hand.

Seize the moment
There are different ways of
bearing witness to everyday
life. One is a close, and often
detailed, examination of
something particular. This
will take time and requires
the subject matter to be still.
Although it can be wonderfully
contemplative to spend time
on one drawing, there can be
a tendency to let detail get in
the way of the overall vision.
It takes a very special talent
to sustain prolonged drawing
that doesn’t deviate from the
purpose of the picture.

Another way of recording

what you see, and the one I most

favour, is to attempt to seize

the moment – especially a bit

of human activity or the passing

weather. Here you have to look

hard, to stare intently before you

make any mark on the paper. The

proportion of looking to drawing

should be at least 3:1, if not

more. Next you need to let your

hand follow your eye, to feel the

movement and the shapes seen.

Above all don’t be distracted

by trying to make the drawing

‘look good’ – the strength of

the attempt will be evident and

that will evoke the moment seen

better than anything.

Karen Wallis draws and paints the everyday

world. She lives and works in Bath, was

chair of the Bath Area Network for Artists

from 2003 to 2006 and is a member of the

Bristol Network. Since 2008 Karen has been

engaged with residency work. Her current

work is rooted in observational drawing in

sketchbooks, which is then developed using a range of media.

MORE INFORMATION

Owww.karenwallis.co.uk

Owww.facebook.com/karenwallisartworks/

Otwitter.com/KarenArtwork

Karen Wallis

Choose your materials well

Naturally, the more often you

draw in a sketchbook the better

you will get. Daily practice of any

discipline develops ‘muscles’

that improve performance. The

most important muscle is hand/

eye co-ordination.

The other muscle is the facility

with materials – but beware of

becoming too familiar with any

one drawing method, otherwise

the materials can lead the

looking. My preference is to use

an implement that carries an

element of risk, such as a very

soft pencil or a brush that is

one size too big. But the most

important thing is to enjoy

drawing in a sketchbook and

to be able to look back and

remember what you saw.

Holburne sketchbook 2008.

“Newel post on a flight of

stairs wrapped in bubble wrap.

This image prompted me to

apply for the project recording

change at the museum.“

Drawing Journal October 17, 2015. “Evening sky looking
towards the sea – penthouse view.“

Holburne sketchbook 2010.

“Two aspects of one man, Eric

the plasterer – his portrait and

in action, plastering a ceiling.“