RESEARCH: Analysing the Work of Ian Chamberlain - Looking at an artist’s process and use of multiple drawing techniques.
Discussion of how I can incorporate what I have learnt from this research into my project.
In light of reviewing my process and abilities when drawing through the experimentation of different techniques, I have decided to look at the work of Ian Chamberlain, a British artist who specialises in drawing and etchings/printmaking. He is also a senior lecturer at The University Of Bristol, specialising in his field of drawing, print and printmaking. This is particularly significant because much of my project focuses on artists who educate as well as artists who have similar subject matter or themes within their work to that of my own.
Looking at other artists is important in my current project because it allows me to experience the work of others, how they develop their pieces through different lines of experimentation and
technique and see how they form different outcomes. I particularly like Chamberlain’s work because it displays lots of different drawing techniques and it is clear through his finished pieces, as well as his documentation of process on his Instagram, that he is constantly trying to experiment with both the materials and the subject matter he has chosen. For the benefit of my project, it is my intention to look at Chamberlain’s drawings, sketches and subject matter. I think this will help me consider how to experiment with my drawings to generate new outcomes, as well as make further consideration into the process behind more finished, larger pieces of work. Often, some of the preliminary works are some of the more interesting pieces due to their sketchy presentation.
Ian Chamberlain’s work aims to reinterpret “manmade structures as monuments placed within the landscape acting as architectural metaphors of past and current technological achievements.”
(Chamberlain, 2021) Which is particularly interesting because much of the subject matter focuses on structures within landscapes and the further meaning behind them in terms of their history, their presence in moving technology forward and also their use. He has also looked at different forms of shelter, a series which I find particularly interesting due to its diverse variety of forms and structures that it has generated. Looking Chamberlain’s many drawings, the diversity in subject matter is particularly interesting because it takes a chosen theme of Shelter or Transmission, a series of drawings and etchings, and experiments with the many variables that the word or project could interpret. I find this interesting because I often find within my own work I focus on one type of subject matter, whereas Chamberlain moves fluidly between shelters, transmission structures, satellites and other concrete structures while still retaining his style, pushing his choice of medium in terms of his technique and still keep his work within his umbrella theme of “manmade structures as monuments placed within the landscape” (Chamberlain, 2021).
Looking at how Chamberlain depicts different forms of shelter has made me consider taking more time to experiment with my subject matter and how I convey it within my work. Finding different ways to draw, making more of the use of negative space or even combining mediums will give me
further insight into how to diversify my work while keeping it challenging and interesting to investigate. I think Chamberlain’s use of his prior drawings to inform later areas of experimentation, as shown by the images provided, shows that his work is in a constant state of progression and alteration where he could produce four or five drawings of the same subject matter and generate slightly different outcomes each time. Looking at artists that follow such an approach will help me alter my methods to do something similar
to benefit the success of my current project.
Looking at Chamberlain’s drawing specifically, I see some similarities between my current work and his. Mainly through similar use of medium, and specifically the use of negative space, the structures look like they could be placed in a variety of locations. However, one process I found particularly
interesting is the use of the darker background and having the structure lighter, almost like a negative. This process of focusing on what’s around the structure and the shaded
areas, and leaving the exterior of the structure or shelter only subtly touched with pencil adds a new dimension to the study. I think it makes you consider the form and shape of the drawing far more than the negative space or the lack of a landscape the structure is situated in. This is shown through the examples I have included, where the background is darker than the structure itself, and the inside of the structure, if visible has details in darker, more muted tones to replicate shadowing. I think the use of pencil has been effective in this situation because you can build up the graphite in a way that you can
control the tonal range, something which other mediums are not able to do. Having control of the tonal range allows you to experiment with darker tones at length, without going straight to very dark, black tones.
Also, being able to remove the graphite with a rubber gives you further control of where you want lighter areas to be located. Although there are benefits of keeping a background white, and your subject matter the area where there is the most work and detail, there is something be said for using your drawing ability in different ways and playing with working in a ‘negative’ format such as this to see if the outcome generated is different. I think it shows that the artist has a knowledge of
their medium and how they can effectively adapt and alter their technique to generate new and interesting outcomes. This may be a process I experiment with in light of my research into Chamberlain’s work, as I feel the use of negative space and in a more generally, how I depict my subject matter could benefit from further experimentation in this area.
Looking at the use of mark making by Chamberlain was also an interesting aspect of his work. I
have seen parallels between his drawings and his etchings where some of the mark making techniques are very similar. Lots of use of line work to build up detail and cross hatching, with an emphasis on building a tonal range was also another interesting part of his work because many of his drawings almost look like planning sketches for a potential etching, marking which areas need to be darker than others, and which areas hold the most detail. Finding connections between an artists work such as this shows how consideration is made about where they want to take their sketches going forward, and how they see their work as constant work in progress from the last piece, which is something I don’t always consider within my own work. The use of mark making here has shown me I can be more experimental with my sketches and still use them for further pieces, or even as standalone drawings themselves and still have connections between my drawings and my larger pen pieces, but it is all about forging connections between the two.
Also, some of his drawings do not look fully finished, with some areas of the drawings being purely an outline. This was also something interesting because it brought in elements of observational sketching, making the pieces more fluid and realistic. I think all of these elements combined show that Chamberlain is looking at the form of the structure, some of the obvious details and putting an emphasis on areas of light and dark. However, the importance of achieving the form of the structure and the shading of light and dark to add some depth seem to be the most important aspects, which is very interesting in terms of depicting a building or structure because there isn’t always an emphasis on capturing every detail. Sometimes, a shape and a note of shadows is enough.
Looking at Ian Chamberlain’s work has been an important and insightful part of my research thus far because it has helped me to consider new lines of experimentation that I want to incorporate into my own practice. As I have been focusing on drawing skills within my own workshops, having more consideration in terms of how I depict the sheds I select, what materials I use and using the same reference and approaching it in different forms will help progress my project further. It will also give me further abilities to incorporate pencil drawing more into the project to inform my larger pen studies. Overall, I am happy with the outcome of this research, and have seen great benefit from briefly analysing the work of Ian Chamberlain.
Sources:
Statement:
Chamberlain, I., 2021. Ian Chamberlain ~ Statement. [online] Ichamberlain.co.uk. Available at: <http://ichamberlain.co.uk/statement/> [Accessed 1 May 2021].
Images:
Chamberlain, I., 2021. Ian Chamberlain ~ Prints and Drawings. [online] Ichamberlain.co.uk. Available at: <http://ichamberlain.co.uk/prints/> [Accessed 1 May 2021].
Chamberlain, I., 2021. Ianchamberlainartist. [online] Available at: <https://www.instagram.com/ianchamberlainartist/> [Accessed 1 May 2021].
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