Apophasis

They are cutting down trees again, not here, but in another village on the way home from town. I saw the tractor with its trailer-load of amputated trunks; it was waiting to join the traffic on the main road at that junction where you always have to wait a very long time.

Someone must have thought that scruffy scrap of woodland would be better bare and treeless; that tangle of trees, mirrored in an obscure pool, would be better ‘developed’ into housing to meet the need for more rungs on the property ladder.

Will the houses they build stand around that pool too, looking into its dark stillness? Or will it be filled up with who knows what? It’s deep, they say. How much debris will it hold? And where will all that black water go instead? Not to mention all the previous residents of wood and pool. (That’s apophasis, by the way – a rhetorical term I learnt today, for talking about something by saying you won’t talk about it, or a theological one for speaking of what can’t be spoken of.)

But the market gets what the market wants, and never mind those costs that can’t be written in a ledger or summed up in a spreadsheet.

The ineffable can eff off, as long as there’s profit to be made.

Photo1488

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Movement of people

(Pictures like this are called black and white but they are really many shades of grey.)List of terms:

Colonists Crusaders Discoverers Displaced persons Emigrants Expats Explorers Foreigners Frontiersmen Illegals Immigrants Invaders Migrants Missionaries Nomads Pioneers Refugees Settlers Thieves Tourists Travellers …

Who makes the labels? Us or them?

After Giacometti

I’ve been playing with my phone’s drawing app again. Also using up a free trial on Netflix, where I found a film about Giacometti, Final Portrait. It felt like a visit to his studio.

I assume some of the dialogue was authentic:

‘a portrait is never finished…’

‘to paint you how I see you is impossible…’

Not cheery, but inspiring.

Hence, this drawing.

(I have also ventured on to Instagram. I knew getting a smartphone would be dangerous.)

Drawing: adding and taking away

Note to self, on rubbing out:

As a child, you want to rub it all out ‘cos it’s all wrong! Start again from scratch or screw it up and throw it away in a fit of temper.

Later, when drawing from life, you think: don’t rub everything out; the ‘wrongness’ can only be in the relationships between marks, so you need to choose which of them to adjust. And don’t rub out before you have corrected the error, because it is a marker to work from. If you take it away you may just repeat the error, i. e. redraw the line in the same place.

Ideally, you think, never rub anything out – each mark should be a considered mark of observation worth keeping (this is a vain pose).

Then (lastly?) you recognise that the eraser is a positive tool – creating light, adjusting a line, balancing tone, making more precise etc. Taking away can be just as creative and selective and considered as adding a mark (this would be obvious if you started from the position of a carver).

And singular precision of line (as opposed to multiple exploratory wanderings) can also be worth pursuing. It’s all a matter of choice and awareness, of not automatically following a knee jerk reaction but being able to recognise that reaction and choose whether to go with it or not.