Bryan Eccleshallafter - the postcards |
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It seemed logical to create a set of postcards from the images I'd drawn on the wall. Complete the circle, as it were. Angelina - Writer In Residence - created some text to go on the backs of the cards which relate to her reading of the images and to our discussions. Below are the images, paired with the relevant text. |
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… Bryan Eccleshall grew up elsewhere. “I was drawing what was around me, believing that if you ignored what was on the OHP, you were in dire peril.” … |
| … This work is from a series made of a view in Graves Art Gallery shop. It shows houses and reflection. The white squares of the window are levelled with the white blank of the sky and the white colours of the scene … |
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… Drawing centres on the chance selection of postcards in order to determine placement of lines on a wall. It takes a conceptual approach to art, basing work on the transformational function of the copy, misappropriating a mathematical approach: recasting as organic, fibrous, curving sheaves of hay … |
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… This particular landscape is inhabited by trees carrying branches, skating and playing in the wind. The scene is drawn looking down and employs a monochrome colour scheme; black is used in the foregrounds leading back to black and white … |
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… A fairground normally bustling with life is left obscured by the eerie movement of the sky, symbolizing the uncertainty of this time, just before the onset of … |
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… Pack-Horse Bridge, flooded with white paint, was moved line by line until lost in its own reflection. It was rebuilt in permanent marker at the head of Bank Street Arts … |
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… This drawing shows the same female face in six similar poses, representing the passing of time. Each figure is lost in the creases of its costume that symbolize a particular time of the day; morning, she is depicted touching her forehead with the barrel of a gun whilst in the evening her face pours like sand … |
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… This is not a portrait in the traditional sense. It’s a view of a window frame. The chair is lost in its own pattern and could be seen to stand in for either Gwen John or Bryan Eccleshall. The table suggests the indoor world … |
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… This is not a portrait in the traditional sense. It’s a view of faces without heads, bodies, limbs. Dresses are shredded. The background wall and furniture are incomplete, dissolved. The miss on the right loses a single tear … |
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… This painting of Sheffield Buffer Girls is a line drawing of Russian farm girls. Hands become waistbands become shirts become neckerchiefs. This was very dirty work. Their sleeves are short, are long, sink into the background. Their hair was tied back … |
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… This particular landscape is inhabited by a monk sitting cross-legged in his habit. The viewer is invited to look over his shoulder out into the blank white of the empty world. Contrast this with the cave behind him, its vase full of wine, the crag of diamonds, the deflated balloon … |
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… This drawing centres on the chance corruption resulting from replication. The body is masked by a coat of white paint, rifles are reduced to children’s play stick-guns. Yet death is ever present, active, in the bullet-flecked wall, abstracted and smeared against the chimney breast … |
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