I started these drawing with scanners, producing large-scale camera-less photographic works to record and experiment. This process formed the basis of a billboard intervention in Frankfurt, featuring a reimagined gesture I encountered on public transport in London.
The process of reimagining encountered gestures through outmoded machines is natural to me. I began drawing like this with fax machines as a child. Sending abstract, wobbly and reworked drawings through the fax by pulling them on the way to somewhere else.
Now I use these technologies to dissect and distribute my research to friends and acquaintances. Initially they manifested as printed scrolls, which then turned into small publications, sent in the post to friends and old addresses. Whether they are folded posters sent via mail or reinterested into public life as toilet roll ideas of signage, wayfinding and interrupted displays continue to fascinate me.
Men without horses, 2017
Fax machine manipulated drawings
I sporadically ‘borrow’ and reinsert repurposed toilet rolls, which I have drawn onto back into the homes and businesses local to their production. These minor, and still functional, acts of reclamation and intervention afford my drawings the chance to be encountered by people who make not be typical gallery goers and who may not even realise they are an audience. The drawings typically depict people is spaces with the context stripped from them, men without horses, spectators without a spectacle.
The process of making these drawings and the experience of reinserting them in such intimate spaces is an important feature of how I try to open up questions of ‘spacelessness’, place, periphery and even the very question of whether something is 'Art'.
© Bryony Hussey 2018