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You are here: Home / Archives for Drawing

Poem for Waiting (Just Hours Before the Proposed End of the World on 12.21.12.)

December 20, 2012 by Iskra 3 Comments

 

 The History Of Counting Charcoal Drawing

 

Counting Time in Sticks (For My Ancestors)

 

People I never met but who must have known I was coming

have dreaded winter just as I do.

They too would ask release

and count perverse blessings

of lighter days as the air grows colder

the ground harder whiter harder

and fear itself envelopes,

being a real thing.

 

Before I was born they were

counting time in sticks

bundling the seconds

minutes

hours

days

weeks

months

though not knowing these divisions

only knowing without divisions

there are no endings and no beginnings

and sometimes you need both.

 

They had no mittens and no books or catalogs of mittens

and no down throws with lofted ticking

and no monogrammed leashes because the dog himself

had not been invented and the wolves could and gladly would

eat your children (count them).

 

Which great-grandfather lying in the tired dirt of late November

invented the four strokes and then the slash

while looking at his hand

perhaps missing a finger?

 

Did a woman break twigs into equal lengths and line them up equidistant

to measure the days since last she bled?

(Each tilting stick a small death,

a reprieve

a slanting wedge of light above her.)

 

In the Book of Hours

the man

sits at forest’s edge

and dries his boots above the fire.

The ghosted chapters on reverse

whisper August, harvest, maidens surely

and in the margins gold

laid by monks

drunk equally on purpose and absurdity

flickers like summer

in the heatless monastery.

 

How earnestly they lay the leaf and burnish,

my Irish cousins

their breath the perfect warmth

to resurrect

The Word.

Yet in the museum

of the darker pages

in the basement where the docents never go

there you’ll find the wooden plank

where scratched the days

with a gilding knife,

in sets of five chased always by a ragged few,

the prisoners.

___________________________________________________________

Poem and drawing © Iskra Johnson

Above, charcoal and pencil, “The History of Counting”

Filed Under: Drawing Tagged With: apocalypse poetry, before the end of the world, illustration of time, poem about counting, Solstice poem, the history of counting

Drawing. Remembering, Studying. Thank you Michael Graves.

September 3, 2012 by Iskra Leave a Comment

Today I am cleaning up my studio and preparing to draw. Ok if I say that, I really will put the stacks of odd-shaped ideas away and neatly label them as “Misc.” (Or the dreaded “Sub-divisions of Misc.”) I will clear five square feet of table and find some hiding place for what was on the tables and be able to walk through the room waving my hands freely. Maybe I will find that lost scrap of paper under the thumb-tacked clippings from a year ago that says something wise.

Meanwhile, one last hour of procrastination on the porch (in the sun) (with hummingbirds) led to a wonderful article in the New York Sunday Times on “Architecture and the Lost Art of Drawing.” Thank you Michael Graves for making me want to get up in the middle of this beautiful Labor Day afternoon and go to work.

“…But can the value of drawing be simply that of a collector’s artifact or a pretty picture? No. I have a real purpose in making each drawing, either to remember something or to study something. Each one is part of a process and not an end in itself. I’m personally fascinated not just by what architects choose to draw but also by what they choose not to draw.”

I did this piece to remember what it is to lose someone, and to know, to study, the shape of that feeling completely. You are in between water and shore. An anchor would be in some other kind of drawing.

 

Adrift_mixed media drawing
Adrift, powdered pigment and graphite on paper, © Iskra Johnson

 

I believe that scrap of paper said something about boats, about how “one’s life is the project of building the boat. At times there are no oars, until you make those too.” Good to recall this from a fine moment on a sunny day when the tools for construction seem well at hand.

 

Filed Under: Drawing Tagged With: adrift, boat drawing, drawings about emotional states, graphite and powdered pigment drawing, Michael Graves on drawing, mixed media drawing

“A Place Without Worry”: Mixed Media Collage

June 29, 2012 by Iskra Leave a Comment

A_Place_Without_Worry_Mixed_Media_Drawing
Mixed Media drawing, powdered pigment, gesso, graphite© Iskra Johnson

Filed Under: Drawing Tagged With: architectual drawing, mixed media collage, mixed media drasing

Architectural Studies: Drawing in Four Colors with an Idea in Mind

June 26, 2012 by Iskra Leave a Comment

Containment 2 Mixed Media Drawing
© Iskra Johnson

Filed Under: Drawing Tagged With: house drawings, mixed media drawing

The Hunting Blind

April 26, 2012 by Iskra 1 Comment

I recently visited a neighbor who collects decoys. Row upon row of scuffed and splintered ducks sat mutely in the pale light of morning.  Their once bright colors had faded to lovely tans and mauves and teal. They reminded me of a rain-cast weekend in the Quinault when I came across my first antique decoys at the lodge there. I felt when I touched them like I had stepped deep into the 1930’s, smelling damp wood and gunpowder of another time. These drawings are two from a set that looks at the mystery of the marsh, the real and the unreal. From the standpoint of stylization it is always an interesting question: how do you draw an unnatural object in natural settings? You can see more from this sequence in the gallery Drawings in Dust 2

HuntingBlind_Drawing
Hunting Blind, powdered pigment and charcoal dust, 8 1/2" x 10 1/2"
Cygnet_charcoal_dust_pigment_drawing
Cygnet, charcoal dust and powdered pigment, 13" x 21"

 

Filed Under: Drawing Tagged With: decoy drawing, drawing the marsh, target drawing

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Subtractive painting study and ground experiment: Subtractive painting study and ground experiment: I added baking soda to my gesso. Pretty wild texture here, not sure yet how stable it is. You can see the test of the edges in the second piece— the rugged edge only works if I get a pristine background and unfortunately the tape I used to mask it did not work consistently. Hello tape, my old friend and nemesis. You work differently on every surface. These little barn structures give me great comfort as the bigger structures of our government and nation seem to be crumbling.
Today’s landscape to quiet the mind. Out in the Today’s landscape to quiet the mind. Out in the fields somewhere, on the road to Edison. Acrylic on prepared ground, sketchbook.
MUST SEE! Ai, Rebel: The Art and Activism of Ai We MUST SEE! Ai, Rebel: The Art and Activism of Ai Weiwei at Seattle Art Museum.
I am thinking this morning about the phrase Americ I am thinking this morning about the phrase American Heartland. Learning to paint a barn means studying the neutrals. Our political discourse has pitted the barn people against the city people and there are no neutrals, just shouting. But if you walk out into the horizon lands, all you hear is the wind and a kestrel. Walk in boots, hard-pressed against your toes, walk on stubble barefoot and get acupuncture for a lifetime. Study the intervals: how the clouds can be in the upper one third neatly or one sixth, precarious, the future disappearing with the sun as it falls making the barn your whole world if you’re three years old and looking up; one big triangle with a square in the center, and so many mysteries inside the square. 

There is also the question of what kind of light seeps between the verticals and is the light coming in the evening or at midday when you can finally begin to make out all the other tiny squares within the big square, which would be called hay. Reach for the rope and swing out over the canyon, that great big canyon from bale to bale.

Collage studies: painting neutrals
A hybrid study, mixed process. Reading the New Yor A hybrid study, mixed process. Reading the New Yorker this morning, about the global population crash. This will upend urbanism, for sure, though it will very good for veterinarians and dog groomers:
“Only two communities appear to be maintaining very high fertility: ultra-Orthodox Jews and some Anabaptist sects. The economist Robin Hanson’s back-of-the-envelope calculations suggest that twenty-third-century America will be dominated by three hundred million Amish people. The likeliest version of the Great Replacement will see a countryside dotted everywhere with handsome barns.”
First Thursday. Such a beautiful night. First Thursday. Such a beautiful night.

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