The drawings displayed on this site cover my interests from 2010 onwards. They are arranged chronologically and can be seen in the menu on the left. Please access the same menu, on mobile phones, by clicking the three parallel lines at the top of the page. Select a particular year and then click on the relevant thumbnail. This will take you to the images and a related text. For more specific information, please get in touch through the ‘Contact Me’ button.
I live next to the river Wye and several of the drawings I display here were made directly from a rowing boat upon the river. Other drawings originated in my studio from on-the-spot sketches made at music venues and art galleries. The covid quarantine affected the possibility of working away from home and I adopted an alternative approach by drawing from live-streamed broadcasts. The earliest examples of this can be seen in my Winterreise Quarantine series. Stills from a more recent animation can be found alongside the 2022/2023 Watching the Water images. I plan to use the same process in my next drawings. More conventionally, the Heavy Lifting: Abbey Farm project stems from initial pleine air sketches, which I rework in my studio.
The Vanities section reaches back to 1966 with photographs of me standing before my artworks.These were taken usually for publicity reasons. The image of the artist posing before the work is a typical art world cliché which I did not pay much attention to. Nevertheless, here is a fifty-year accumulation.
Academic Papers
A section entitled Academic papers includes a range of papers delivered on the theme of Marcel Duchamp’s hallucinatory writing on the Jura-Paris road. This really begins with my essay published by the Tate Gallery in Tate Papers, outlining my eventual PhD thesis on the military themes in the work of Marcel Duchamp 2007. Included here is the English version ‘The Beat of 5 Hearts: Dagognet, Duchamp, Marey and la route Jura-Paris’ published in French by Editions Matériolgiques in ‘François Dagognet, Philosophe, épistémologue’ edited by Gayon, Bensaud-Vincent and Braunstein. The paper was delivered at the ’François Dagognet Colloque’ at Université Paris 1 Panthéon Sorbonne in 2019.
