Letter to a Friend

The books you left for me are wonderful. Perfect.

The Structure of Fishes is one of the most delightfully visceral experiences I’ve had looking at an image. Ever. I keep asking myself, why? Without a doubt it is the connection with the elegant structure of the fish, but also the subtle changes in values and the beautiful play with soft edges. Most of all, it is the way that the X Ray machine is able to translate 3D to 2D by showing through the interior of the form and giving a hint of what’s on the other side. This synchs perfectly with what I’m working on — spacial reasoning. And how seeing through to the other side (even a little) — knowing where and how that other side is — absolutely sells the illusion of 3D space. Very cool.

Night Visions: The Secret Designs of Moths is revealing of structure in an entirely different way. The moths are opaque and, as a result, their silhouettes are king. And of course, the way the textures lay across the structure so clearly. And the focal length of the camera shot, what is atop what, hard and soft edges. Yes the colors and designs are stunning, but I keep responding to the contrast of spiky insect legs and soft wings, to beady, glossy eyes and the fluff of texture covered bodies. Isn’t it interesting to spend time with pictures and ask yourself what strikes you? And this one is also timed perfectly as this week I’m embarking on Lesson 4 of drawabox.com (the drawing and spacial reasoning course) — where we will be drawing insects. (According to the Smithsonian, moths (and butterflies) are the only group of insects that have scales covering their wings, and they differ from other insects also by their ability to coil up their proboscis.) When drawing anything, the texture detail has to lay believably on the underlying structure. And often, the essence of the texture is caught not by drawing the texture, but by catching the shadow forms they cast. This is causing me great difficulty. These pictures, though, are at the perfect reference size to practice with!

And last, but certainly not least, The Andy Goldsworthy Project elicited a wow! we just saw that at the National Gallery last week! The chapter on Government Island, written as a diary and accompanied by photography, was particularly captivating. His thoughts as he contemplates and then works on the quarry, what he observed about how light works and the connections with concept, and what the experience was like for it to take on a life of it’s own, outside his control. And sense of place. It’s a story in serial. As much about the art as about this particular man's experience of creating. Intimate. Interesting to have an unabashed account of it all. When I write my blog, I often lose myself in the writing, but upon reading it definitely feel slightly abashed about it all. Goldsworthy therefore is an example of being oneself. I’ll hold onto that.

So, thanks again for sending these three books. I arrived home on Tuesday, as you know, and for the last few days have been walking by, then opening, and leaving the books strewn in various configurations on my drawing table. The magic of having just these three things on an otherwise empty table opens the mind to all kinds of connections.

Thank you for thinking of me.

Caroline