How important is a sketchbook when creating a new work? Would you say it is a more archival than diaristic approach to your artmaking?
For my practice a sketchbook is crucial. Whether it’s a quick little drawing that forms the concept or the full finished drawing on a piece of paper, the sketchbook is a reference point and an archive of thoughts and process. I always end up revisiting these thoughts and concepts, old or new. I use a tiny, hand-sized sketchbook for simple, quick sketches of what I’m thinking about. It’s a good way for me to refine my ideas. I will then go on to make real scale drawings from that, which is what this book is about – providing an insight into how my paintings are made.
Architectural designs and geometrical patterns seem to be the main structural platform in your works. What draws you to this aesthetic?
I have always been drawn to architecture and geometry, even in my early years. I like to bring it into my works as I find it an interesting platform upon which to base a narrative, building a sense of time or place according to pattern and configuration. And just the same, it can be manipulated to bring about ambiguity or abstract thoughts. This is similar to the ideas behind my use of role-playing and theatre in the figurative element of my practice.
The exhibition showcases a selection of new paintings and ceramic pieces. Can you tell us a bit about these works?
I’ll be showing some new paintings that further distort narrative through the ‘pattern’. They have a repetitive nature to them, like a computer glitch or system failure. I have planned to bring along some recent miniature ceramics as well, most of which have figures on them that can be seen throughout the sketchbook.
The title of the publication, ‘Sketchbook’, seems to be implicit of its contents…
The book itself is a reproduction of a sketchbook in its size and shape. It will consist of reproductions of the drawings I make on transparent pieces of paper that are then transferred into my paintings. I’ve been using these drawings over different paintings for many years. I’ve held onto them and collected them in my flat files and some of them are extremely beat up. If it is a drawing of something specific that I really like, I may reuse it for other paintings, so overtime they become weathered and worn.
The publication depicts your work over the last decade. How has your practice evolved? In which direction do you hope to take it in the next 10 years?
Interestingly, in looking through 10 years worth of small scribbles and sketches, I’ve noticed that the figures and artifacts have remained relatively consistent. The most noticeable difference in my practice over that time is the use of materials and the scale. I’ve been turning my drawings into large sculptural wall reliefs recently, which explore playful compositions with objects and geometry from my paintings, but include timber and ceramic and a whole new process of production. I’ve been developing my ceramic works for the past 5 years or so, working with video and sculpture as well. I’m pretty focused on producing larger scale works for the future.
neospace
16 to 18 February, 2017
Melbourne
Mark Whalen, Obstruction Divers II, 2016, ceramic, acrylic and gouache on wall relief, 96.52 x 81.28cm
Mark Whalen, Floaters II, 2016, glazed ceramic, 12.7 x 10.16cm
Courtesy of the artist and Blackartprojects, Melbourne