Jackie Raybone

I realised after making Western Road that I wanted to incorporate a stonger narrative in my works, so this lead to researching Japanese scroll painting.  The format of the long scroll of paper in early Japenese paintings appealled to me initially, then I researched the way in which space, line and narrative were used to describe the everyday lives of people, and historical events. 

Western Road, 2010: (the view from my art studio):
This later scroll drawing was inspired by 'Sunday Morning' and the view from my art studio window. 

Sunday Morning, 2008: (2 month scroll drawing of the street below):
Every Sunday morning for two months a local cafe owner very kindly allowed me to sit upstairs in the function room so that I could draw at the view from the same window. I wanted to capture movement and the passing of time, and record with pencil on paper as much as I was percieving at the time- the different views of the street below depending on my changing line of vision; people and traffic passing, my thoughts, sounds- using text and mark-making.

Resistance: (2009):
The drawing I had in mind would be fragmented, cut into layers, like flashbacks of images and perceptions of the split second series of events in the minute on the train station platform when I saw a dog being dragged and everyone staring at it.  I decided to work small and build up a large, landscape, image with fragments, reading like a scroll.   I used magic tape to imprint the dog, and re-stick, to create motion, like a Muybridge photograph the animation interest is there again.  I am not happy with the final result, from a distance of more than a metre it has not impact- maybe this is not important, but if it was intended to be an intimate piece requiring close attention- why work on a largish scale- and why not work on a series of small images that fit in a sequence?  I prefered ‘Overload’ and ‘Scatterbrain’ drawings close up- but they do not work from a distance. I wanted to get away from this habitual comfortable A1 scale, and I nearly have, but it’s not quite. I prefer the drawing as a series of smaller images. 

Drawing on Windows:  WCA (2009):
Attempting to draw the view from direct observation, at the same time as drawing attention to the futility of drawing/ freezing the present moment, (influences: Rachel Lowe), as it is ever shifting, depending on the position I stood in, the movements of people/ things I am drawing, changing light, noise, etc.  I had wanted to create a larger installation filling the whole of the space, but recording what was in front of me, by tracing on the window, meant that the people drawn were small, and my own position, near the window, dictated the scale of them.  I made an animation of the windows drawing.