I have spent the week reading and drawing – Brion Gysin and Arnold Pollock respectively. The Gysin book (Back In No Time – A Brion Gysin Reader) has been fuelling my desire to draw, as his paintings and prints have something of a collage quality to them, creating shimmering illusions of life through well-designed brushstrokes and simple abstractions. As Arnold comes from a family of drafts-people and draws a lot himself, I decided to meet up with him to begin practicing again with the hope of picking up some new ideas or techniques to work on, and so we have sat drawing one another throughout the week, at his house or in coffee shops, generally using various pencils, drawing pens and charcoal. For the most part I’ve been doing all the drawing blind, focusing on sections of the body whilst drawing, to try to capture lines and textures purely rather than trying to make portraits or anatomical studies as such.
I also sent an email to the Tate Archive to enquire of any information about their – supposedly – archived work of Genesis P-Orridge and the possibility of making an appointment to view it, as of course this would be an amazing networking opportunity as well as exciting in itself. I heard back promptly with a friendly and helpful response, in which I was informed that along with a massive 80% of the Tate’s archive, P-Orridge’s work is as yet uncatalogued. However:
“If you would like to see material in an uncatalogued collection, please write to the Archivist at the address below, giving as much information as possible about the subject of your research and the material you are interested in, allowing at least three weeks’ notice.”
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