Di Drummond

Two sketchbook pages. Two ink drawings of tree branches and leaves. An abstract indication of branches and leaf cover. Trying to show the new foliage that is just unfurling in the lightest and minimal way. Drawings show heavier lines for the branches and trunks and fine marks for the leaves

21-ALMOSTNOTTHERE

Two pages of a sketchbook. Each page has a quick sketch of two women sitting and chatting. The drawings are ink with gouache colour added to the background. The top image has the women sitting on red chairs, the figures white with green/blue background. The lower page the figures are coloured with a yellow and red background.

20-NOTMANYPEOPLEATTHECAFE

Sketchbook drawing. Three different drawings in black ink. They are different sizes and placed within irregular boxes. The images are of tree branches and shapes picking out only the very dark and light areas. Simple line indicates the branches etc. There is no shading or texture. The black areas are the negative space between the various shapes.

19-ITSJUSTBLACKANDWHITE

Sketchbook page with fine ink line. A continous semi abstract line drawing all over the page. At the bottom are vertical marks that possibly indicate grass. Longer lines cross the page in a way to suggest stems and across the top horizontal plane are various marks that resemble leaves and other foliage.

18-WANDERINGROUNDABRAMBLETHICKET

Square drawing in orange, beige and white Posca pens. Negative spaces of tree shadows drawn in orange. White and beige pens shade in the actual tree trunk shapes. The shapes criss cross the paper in a semi abstract way

17-SITTINGINTHESUNSHINEDRAWINGSHADOWS

Square drawing in Posca pens. An orange background is overdrawn with some buff squares then off white thicker angular lines. The orange background shows through. The drawing has an architectural/Greek key feel.

16-WAITINGFORKETTLETOBOIL-DIDNTTAKELONG

Pen sketch of the lower part of a tree that has partially fallen and has two branches that look like outstretched arms. It is resting on other smaller tree trunks. The sketch is loose and minimal, mostly concentrating on the main trunk and its branches - they form an X shape on the page.

15-RESISTINGDECAY

A page torn from an old book with text covered with washi tape and placed on a multi coloured abstract background. Words still showing are - one-sided, in haste, laboured, gross misery, untaught, driven, waiting, myself, Well?, ITS GONNA BE GOOD

14-ITSGONNABEGOOD

Part of an abstract painting. Portrait orientation of image. Dark blue mark descending from top right overlain by gold coloured lines against a buff background. Paint has run across most of the blue to form fine rivulets of gold paint. To the left of the main marks are two thick, bright and light blue brush marks

13-WIP-RIVULETS

Abstract painting. Various golden yellow shapes surrounded by pale buff colours. Light and dark blue marks and lines interrupt the surface. A dark blue patch in top right hand corner

12-WIP-ATLONGLAST

Two pages of an open sketchbook. There are a mix of black ink lines and biro lines in purple, pink, orange and yellow. The lines depict simplified tree forms, each colour indicating a different tree's growth

11-MORELINESONAPAGE

Two pages of a small sketchbook showing two images. At the top, a pen and ink drawing of a plank bridge over stream, roughly but reasonably realistically drawn. The lower image is ink and purple biro of intertwining tree trunks surrounded by a loose mass of black and orange lines indicating smaller crossing branches

10-LINESONAPAGE

Country station level crossing at night seen from the road. The gates are closed with red warning lights and a train is travelling through the station at speed. A4 Photocopy amended with acrylics

9-NONSTOP

Gouache painting, mostly in mossy greens, of a partially hidden rock. It is not obvious how big or small the rock is supposed to be as there is nothing to compare it with. A sparsely indicated plant could be taller, as if seen from a distance or taller if the rock was more a pebble size.

8-ROCK

Ramp with railings both sides going up to empty country railway platform. Night scene lit by tall lamp posts. Notice boards line the ramp. A4 photocopy overpainted with acrylics.

7-RAMP

Looking from the road at a level crossing at night. The crossing gateway is closed with red warning lights. The lights illuminate the fluorescent looking road markings. The crossing is deserted but the lights are warning of the approach of an impending train. A4 photocopy painted with acrylics.

6-GATEWAY

Country station seen at night. View from one end of the platforms into the distance along a two track line. Station lights glow along the sides  of the platforms lighting the fences, handrails and railway track. There are no passengers or trains - the whole scene is waiting for something to happen. A4 painted photocopy.

5- PLATFORM

Night scene of a UK country station platform seen from a ramp entrance. Railings crisscross the image which is also lit by tall lights. A railway signal light seen from the back, dominates the scene. A4 photocopy painted over with loose acrylic paint

4-COUNTRYSTATION

A figure in dark profile stands in the road looking towards a country level crossing. It is early evening and the tall lights and reflected road signs cast an eery yellow glow across the crossing. A4 photograph that has been loosely painted over with acrylics.

3-LEVELCROSSING

A4 paper collaged with 16 photos of random street furniture and overpainted and drawn on to make a patchwork of semi abstract images and colour. The word Softscoop is partially visible.

2 - SOFTSCOOP

A4 painting on card of two people in hats, folded in half and placed on the edge of a pond. Surrounded by primroses and strap ferns

1- FROGSHELTER