1. Think back to when you were six years old.
  2. Imagine a shower.
  3. Grab a bunch of ProMarkers and some sheets of A1 paper.
  4. Draw what you think the shower looks like.
  5. Cut it out and stick it on a wall.
  6. Step back and admire.

 

It took me a while to get back into actually making some work, I think that this is usually the case when you come into a new studio or environment. It takes time to settle into how it feels and what it’s like to make work in that space. After spending a fair amount of time just doing research on my laptop I was getting jittery about not having produced any physical work so I settled into the materials that I know I am comfortable in to ease myself back into it. Paper and pens are my go to, I find them simple and accessible, providing me with quick responses to ideas that I have thought of. They also present me with restriction in which to make work: the size of the sheet of paper, the colour palette of pens, and the amount of ink in the pens. These limitations make it easier for me, giving me a framework to produce within meaning that I don’t have to spend time on changing aesthetic decisions with each piece.

 

Looking at the research that I had done, drawing a shower seemed like an appropriate place to start. I had overloaded my brain with so many different styles of shower heads, taps, and hoses that I was struggling to pin down exactly how I wanted the drawing to look, it needed to be identifiable to people but I also didn’t want to do a copy of an existing object. I had set myself limitations within the materials that I was using so I thought why don’t I set limitations with the research that I was trying to incorporate, distilling it down to only what I could remember in my mind in the hope that what remained was the images that I liked and found engaging. I don’t know why but this resulted in me turning into a six-year-old and I found myself drawing a child-like impression of a shower, very simplistic and flat. It didn’t look like anything I had been researching but something about was right.

This began to open up new ideas for, particularly about memory and how we have specific, idealisedimages of what we think objects should look like. These alter from person to person depending on the environment they live in and what relation they have to aspects of the world. Stripping it back to drawing from memory allowed me to feel looser in what I was doing, there was no right or wrong in what I was drawing because there was no longer any set description of what it should look like. This aligned nicely with the child-like nature of the drawings that the pens and paper gave, creating images that were detached from reality in some way.

 

Will Coups