Summer 2002
Volume 4
Number 4

Sketchbook p.28

Richard Wright
Pencil and gouche on paper There is no clear procedure in my work by which an idea (thing envisioned) evolved into an image (thing made). I don't so much like the idea of the sketch (it makes me think of Victorian water colours). It also evokes the thought of the armature (the bones on which the body is moulded). A kind of 'as above, so below' model whereby the object evolves as an attempt to bring into the material world an image which perhaps exists in a more perfect form elsewhere. Although this model is not useless I find the synthesis of the work is sometimes less direct. It is not so much a matter of starting with a plot and filling out the characters but more a question of starting with a character and asking what they would do, what they would say, or even more remotely of starting with something said and then the question who could have said this? In practical terms this means that I tend to leave myself notes reminding me of something I thought I saw. The situation becomes further disturbed when I consider the element of time. Two or more years can pass before a thing remembered may become a thing used. In this time, it can be picked up and mutated, dropped, picked up, etc. before it becomes recognised. These mutational operations are often influenced by thoughts which seem entirely external and unforeseeable from within the frame of the original idea. Sometimes a thing has to be found to be useless in many ways before it is finally useful.