Marbling Set 9, the verso

David Somers bio photo By David Somers Comment


I don’t normally give much regard to the back, or verso, of my artworks.

Today, I was bringing m9 into the digital world. Taking each one from the drying place, scanning it, and putting it back. To keep track, I flip each one over as I go.

Normally, this is the view: the fronts of the set. This is all I tend to consider.

Set m9, in progress, the recto. Ink on paper
m9 [in progress]. Ink on paper.

Today, after brining them all in, my view has changed to all of the backs, and a bit of a surprise.

Set m9, in progress, the verso. Ink on paper
m9 [dried], verso. Ink on paper.

The backs, or verso, are noticeably different from ones that I’ve made before, in that there is something on them. I’m putting this down to woking in a smaller bath, so there was more manhandling due to the restricted space.

Now, looking at the backs, on some of them there is a region, a place where the two visual protagonists don’t meet… a kind of no-mans-land… absolutely no hybridity going on there… absence… or repulsion. This has occasionally happened on the front. Typically I concentrate on the hybridity as a positive aspect, viz. where the two protagonists meet. Here, I am drawn to the negative… to the negative space… where something is happening precisely because something is not happening. Is this something that I want to draw attention to? Some ideas are forming. How to represent the hybridity, whether positive or negative. To strip out everything and just show the area of hybridity (positive space)… or just the area of no hybridity (negative space)…

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