The Watermarks Project is an ongoing collaboration between members of the Conservation and Imaging teams from the British Library Qatar Foundation Partnership. In this project we have developed tools which highlight and reveal the watermarks found within a series of ship’s journals dating from 1605-1705, relating to the East India Company’s voyages. My role has involved drawing and digitising a collection of 78 watermarks that vary in design and complexity. Read about the process and techniques used to make these watermarks visible on the British Library’s Digital Scholarship blog.
Sometime in late 2006 I bought a Moleskine journal and a small selection of Tombow pens from a store on Tottenham Court Road in London. Nearly ten years later I rediscovered these supplies at the back of a drawer in my Bangalore studio and felt bad I had never used them – there and then I started working, and from the first few quick and spontaneous drawings this series took shape.
My non-linear and semi-autobiographical works examine the processes we use for communicating, manipulating and reading visual messages. In this series of British and Indian imagery, the frame and grid provide a structure that facilitates a dialogue between inside/ outside and a tension between what is known, assumed and thought.
I have just finished a new series of drawings that place Edward Lear’s nonsense word ‘runcible’ within various disparate visual contexts.
‘Runcible’ is a nonsense word invented by Edward Lear in 1871. In his poetry this word is used to form semiotic gaps that cannot be satisfactorily resolved or understood by the reader. The nonsensicality of this word is further compounded when used by Lear as an adjective to describe a range of disparate nouns, including: a runcible spoon, raven, cat, wall, hat and goose.
This series of drawings situates Lear’s ‘runcible’ within a variety of disparate scenarios. Through a process of contextual shifting the word suggests a multitude of meanings that conflict or contradict – The result is nonsense.