Lynchian narratives

The person who blogs as Still Outside Authority is known for giving gnomic titles to WordPress posts: the latest landscape line drawings are headed “Under the Gibbet“.   There is something of David Lynch in this linking portentous words to image.

Yesterday, OA and I walked the canals between Manchester Piccadilly Station and the artspace HOME.   Here was my last sketch, coloured this morning in conte crayon and watercolour, having first been re-inked to obliterate the heavy black lines in the original on-site drawing.  A cleverer artist would have left that expanse of water as white paper, with a minimum of lines to suggest ripples.

We had visited the exhibition My Head is Disconnected: visceral drawings and relief paintings by David Lynch (open just one more week).  In these images, we meet recurring characters and a house motif.  This is not a storyboard, rather each individual picture might stand for a whole film, the series connected by a single director.  Each work encapsulates the totality of narrative and dialogue, characterisation, build-up and climax and resolution, tone and mood in unmoving shapes and cryptic utterances.  We fill in the gaps (the missing 90 minutes of film) in our responding imaginations.  That recurrent house icon is clearly, very much, not safe as houses.  We see “light fire boy” and the caption beneath “meiah is a girl who he likes AA lot”; “Who is outside my house” which throws out a poignant thought about the dog; “Her shadow began to change“; “Bob’s antigravity factory” with the artists fingers clawing through the think earthbound paint; “A lonely figure talks to himself softly” standing in a storm, expressing the thought common to us all; and Bob’s meeting Mr Redman is not welcome at all.

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