Rosie Vohra
As we grow older we tend to drift from our careless side. It is easy to become too self-aware and reflect too often on what we are doing that spontaneous creativity can easily be lost. My drawings attempt to balance critical thought with spontaneity. I am interested in the idea of drawing and collaging with objects and materials such as silicone, wood, paint, clay, plaster, steel and printed ephemera. Distilling my work down to the basic elements that connected me to drawing as a child is what holds my passion for drawing today and at its most basic; my drawings express an excitement and fear of working in the medium itself. My excitement and enthusiasm for different shapes, colours, textures and particular objects may have stemmed from childhood. Perhaps these are aspects of my subconscious developed and portrayed through my work, tapping into other experiences and encounters from a younger age.
My sketchbooks play a vital role within my practice, acting as a sympathetic environment for mistake making and as a result, my drawings are often acts of thinking onto a surface with reference to my surroundings, poetry or simply words and phrases that stick with me and catch my thoughts. I long for the feeling you acquire when reading a poem and the uncertainty of the message the poem is conveying. You have an idea of the meaning and you have applied it to your own life, it fits, but it is forever changing. The text you have read today may provoke a different response in a year’s time, consequently reflecting your experiences.
‘Silence unstirred, saved by the hollow echo’. This is a line from Frederick Shiller’s philosophical poem, ‘The veiled image of Sias’. Poetry allows me to feel connected through a familiar combination of metaphoric remarks that ultimately lead to a paradoxical statement. It is the feeling of not knowing, saying so much and yet saying nothing. Similar to my view on the discipline of drawing, there is no fixed definition. It is infinitely malleable to interpretation; it is a state of flux and inspiration, where you are charging in this ball of unexplained electricity. I aim to create a space in which text, experience and line form physically and emotively through the extension of drawing.
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
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1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
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1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
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1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk
1. The Unwanted, 2013 Collage on silk 2. The Unwanted, 2013 Collage on silk