Sometimes this process involves digitally tracing the photographs to produce simple sketches that I can then print or project onto a wall. From there I draw out the image. Sometimes these are small and discreet, but often they become sprawling works that wind their way across entire walls or windows. The larger the image is, the more the original ceiling becomes distorted, allowing viewers to see the beauty of the day to day sometimes without even knowing what they’re looking at.
The larger drawings are often done using millimetres thin black tape. This gives a weight and fragility to each line, and allows work to not only be produced quickly, but also gives it an impermanence that is perfect for rotating exhibitions. It also allows me to make changes as I go, modifying the work as it evolves. The smaller pieces I produce are often hand drawn directly from my library of reference photographs. While not as accurate as the digitally traced works, they give a more traditional finish.
Whether large or small, the work doesn’t always stop there. I then go back to my work and produce mono prints from the lines. The raised surface of the tape gives the perfect relief to make rubbings from, and being able to pick certain areas of a much larger piece of work distils the visuals down to the most important areas. It also allows these large installations to become smaller works of art – ideal for my audience to take away with them.