Paul Digby’s final entry for the journal on his latest work ‘Shopping’
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Many of our discussions in previous weeks have been about the intervening 10 years as much as they have involved what this project will entail. Our discussions have also revolved around situationist ideas and strategies, phenomenological understandings of environment and our engagement with people as artists and individuals.
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this was the first time I conceptually considered presence and absence of the figure and the space around the figure, and this has kept with me ever since.
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. . . the fact that there is much art out there that most of us will never be able to experience firsthand does not mean that there is no point in trying to experience or understand it.
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Notes From a Covid City
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Fell:
Northern England and Scottish
a. a mountain, hill, or tract of upland moor
b. (in combination) fell-walking
Word origin
from Old Norse fjall; related to Old High German felis rock
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Was the sky ever so blue over my Ruhr Valley? Sun. It is warm. But there is no clatter of dishes from the balconies, no humming of people's voices in the cafés. The roaring of the airplane engines is also missing. The honking and screeching, the pattering and stomping, the too loud music of the neighbour, the annoying sound of the leaf blower.
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This series of drawings were made during coronavirus lockdown and are based on Henry Moore’s Three Standing Figures, which are based in my immediate locality and stand overlooking the quietness of the lake in Battersea Park.
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Through drawing, sculpture, film and 35mm projection this exhibition looks to explore the role of the epigone (an impersonator or apprentice) as each new piece is realised. Four drawings made at the beginning of the project act as proposals for four artworks. The drawings enclose the signature of the artist, offering a framework for how to follow suit. But the corresponding artworks are less defined in terms of their authorship.
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