Page 94 - sarah-simblet_sketch-book-for-the-artist
P. 94
OBJECTS AND INSTRUMENTS94 Bench Marks We are left a little confused as to what we should
W H E N WE DRAW A COMMON OBJECT like a chair, its do, and where the chair belongs.
character, craft, and place in the world are truly seen. From
component parts we understand how to put it together and With homey contrast, Van Gogh's tipsy seat is a
make it stand sensible in space. Sarah Woodfines flat cut-out metaphor for an absent person. Drawn in more-or-less
model plan is a witty and surprising drawing. A renegade conventional perspective, it has so m u c h familiar
from the paper dolls' house, this chair presents us with a personality that it seems to talk to us. Its wobbly gait
clever visual contradiction: deeply drawn shadows tell us it and squashed symmetry mumble endless homey tales
must be solid, while the tabs make us see a flat paper cut-out. about the life it has seen.
SARAH WOODFINE
British contemporary artist graduate
of the Royal Academy Schools, and
winner of the 2004 Jerwood
Drawing Prize. Woodfine exhibits
internationally, has published several
catalogs of her work, and has
drawings in numerous public and
private collections.
Two-dimensional This highly finished drawing
was made using a sharp pencil and ruler
on smooth white drawing paper Woodfine's
glistening dark drawings are two-dimensional
artificial representations of known things
in the world, each drawn with the s a m e
unfaltering lines and tones that are balanced
between reality and impossibility.
Chair Cut Out
2002
22'A x 23 in (565 x 585 mm)
SARAH WOODFINE
