Plastic objects found on the shoreline. re-activated / re-purposed for mark-making processes.
A kayak paddle with four markers pens inserted into drilled holes led by twine via the makers hand, walking in circles and and arcs across the paper.
A strip of plastic (electricity warning sign – cut to provide framework for a lobster pot) drilled holes either side, one with a marker inserted one with compass point to balance - pulled via twine in arcs.
A cast-iron sash window weight (found attached to a lobster marker - pole to provide ballast at the bottom of a buoy) suspended, taped tight together with a refillable indian-ink marker, the nib when depressed expels ink - the quick rotational spin of the weight sprays cascading marks onto the paper.
A length of guttering turned upside down with two pens inserted into drilled holes, nibs slightly proud of plastic - twine either side, enables participants to push - pull together to create linear marks.
A roller from a lawnmower suspended via a length of monofilament with a pencil inserted. Rotating of the roller, offers infinite variations of looping, coiled marks. The tension of the suspended object, elasticity of monofilament, sharpness of the graphite pencil and force of rotations, are all determining factors in how the marks are transcribed.
A second identical paddle (found years after the first one) is suspended above per with two markers cable tied tight around the paddles circumference to create tight dual marks when spun.
Within all of these processes, watching the marks appear on the paper lies between 'reverie and endeavour' - the creation of the wide ranging marks is an extremely meditative experience.
The attaching of fixings and the tying of monofilament, are all activities aligned to my lineage. The works allude to 'heritage' skills within coastal communities and to the detrimental impact of plastics on the marine environment. The endeavour involved in reactivation of the plastic material is a collaboration between maker and material. I have developed several of the drawing processes specifically for a week of workshops at my former primary school (situated a stones throw from the beach) - as part of a 'Sense of Place'. A project initiated by Berwick Visual Arts, culminating with an exhibition at Berwick Gymnasium gallery showcasing the children's work alongside three other primary schools within the borough. The momentum of the materials and the endeavour required coupled with the repetitive nature of the processes echo the buildings former use as a military training facility.