By Jenny Arran, Nov 30 2017 11:02PM
I had to explain to a friend recently about how I started using an axe in my work.
I was making sculptural paintings in the summer of last year, on blocks of rough Oak - responding to the marks in the wood - listening to the wood itself.
I wanted to find a way to work on more than the surface - to go deeper and make my own marks, to 'draw' on and in the wood.
When you trace things back it's easier to see the links, several things happened;
A friend sent a rousing message to her female friends, in the light of the then political situation talking about 'a call to arms' and a sense of urgency and energy.
My own life was on the edge of a transition. I went to Scotland and found myself wandering in that pleasing, aimless, lost and found way
in an unknown city, without a phone, happily unmoored.
In the museum I found a whale bone, huge, beautiful, silent, from the Banda Sea.
On a small part of it were some marks, small, but compelling and beautiful. Cut marks, seemingly random but they told a story - an immense old story within just a few marks encompassing seas and time and the great gentleness of Whales and the great violence of humanity. I was transported in that moment in front of that Whale bone. The contrast of the knowledge of the violence inherent in their being there, set against the beauty of how they were, if seen as a drawing, black on white, answered my question about how to mark the wood and somethign of the story I might tell.
A call to arms and a question of balance - holding a paradox - the tension of opposites.
Beauty and violence, black on white, strength and vulnerabilty, masculine and feminine.
I'm a sculptor by training, a lover of trees and wood and fires - I'm familiar with using an axe - so it felt good to bring it into my art practice.