July 2017

Finding Lines
Finding Lines museum project blog
V21 V21 3D Virtual Exhibition

Finding LinesMy 10 ‘Jigged’ drawings were included in the Derby Museum and Art Gallery’s Finding Lines – a celebration of drawing and mark making exhibition in July and August 2017.

Other participating artists were Liz Atkin, Stephen Carley, Steve Chapman, Susan Kester, and Nick Parker. Our work was displayed amongst drawings by Henry Moore, David Shrigley, Maggie Hambling and Frank Auerbach, to name a few!

For Finding Lines I made a ten drawings that explored the act of drawing, the tools that the drawer uses and the notion of making mistakes. I wrote a guest blog post at dmfindinglines.tumblr.com for Andrea Hadley-Johnson (Head of Co-production Display) at Derby Museum and Art Gallery and the curator of the exhibition.

Jigged Drawings – A Guest Blog by Tim Shore
August 2017

I made my first line drawings a few years ago – they were an attempt to say something about weaving, drawing and story telling – for the Holmfirth Festival, in West Yorkshire, exploring the town’s textile history and in particular its Luddite activity. It was claimed that 450 men were ‘twisted-in’ to secret Luddite societies in the town in a doomed attempt to protect their livelihoods against the introduction of new technologies and working practices.

The basic mechanism of weaving – two interlaced vertical and horizontal threads that are woven to form cloth – is a potent metaphor for the community, belonging and strength that Luddism offered Holmfirth’s beleaguered textile workers.

I carried on making what I called ‘jigged drawings’. Drawing with the aid of a simple tool (a ruler) – and completed in one sitting – or standing, as I had to reach across and around the A1 paper to rule the many closely packed lines that formed the drawing. The drawing became an activity about drawing itself, about stamina and duration and drawing correctly. I used carbon paper so that each drawing automatically created a copy of itself because I also wanted to say something about production and automation – and how the machine became the substitute for the hand.

Each drawing is the result of a durational and physical exercise that relies on concentration and stamina, and which is always imperfect, because in doing it I can never match the precision of the computer (although the carbon copy nods to the perfect copying of the photocopier and the printer) or the rules I have set myself.

Each drawing is a copy of its original. The carbon copy is an ‘automatic’ record of the act of drawing; it captures all the mistakes I make: the slips, smudges, misalignment and movement – and replicates them.

The drawing is of nothing – not some thing – and the copy of the drawing is a record of my all too human fallibility – of a desire to make mistakes and get things done.

For Andrea (jig drawing) b