Jean Newman
8 on wall 2

pen on paper 2020

1 on wall trinil
1 on wall unival
trinil 100

trinil (50cm x 70cm) pen on paper

trinil detail

bilzingsleben (50cm x 70cm) pen on paper

detail bilz
bilz detail
blombos 100

blombos (50cm x 70cm) pen on paper

blombos detail
la pasiega 100

la pasiega (50cm x 70cm) pen on paper

la pasiega detail
las chimeneas 100

las chimeneas (50cm x 70cm) pen on paper

chimeneas detail 2
las chimeneas detail 2
gough's cave 100

gough's cave (50cm x 70cm) pen on paper

g cave detail 1
g cave detail 2
niaux 100

niaux (50cm x 70cm) pen on paper

detail niaux
unival 100

unival (50cm x 70cm) pen on paper

unival detail 200 2
unival detail 2

Everywhere where there is interaction between a place, a time and an expenditure of energy, there is rhythm. … No rhythm without repetition in time and in space

Henri Lefebvre

Hominins have been making marks on surfaces for 500,000 years, the earliest consciously made mark a chevron pattern etched on a shell. Since then, geometric marks have been made on bone, antler, stone, clay and cave walls through to contemporary materials and methods.

What are the thinking processes when drawing rhythmically and repetitively? A physical subject is not being drawn in the sense of making a representation of some thing, but hand and body get into a rhythm creating a sensation of muscular memory.  Fluctuating states of consciousness drift in and out, between being completely absorbed in the drawing process and being aware of the ambient environment, at times the whole experience fusing into a seamless flow.

These contemporary re-interpretations, extracting individual motifs and translating them onto a grid, create their own patterns. By their rhythmic repetition they reflect time passing through the repetitive act of drawing.  .