Liz Hutchinson, Marking the Days

‘Marking the Days…’

An ongoing collection of 54 A5 drawings in acrylic, pen and ink. Each drawing represents one day of Lockdown.

As an artist starting lockdown, I realized I was going to need a homebased creative practice and daily routine to provide structure and stimulation as I no longer had access to the studio where I make jewelry.  The art materials I had at home were very limited, just some basic inks, a few random tubes of acrylic and only torn out pages of sketchbooks for a regular paper supply.

My starting point was simply to be in the practice of playing with these limited supplies, making marks and drawing in whatever way felt right, for a short period each day. The emphasis was on process and discipline rather than results and it quickly became a part of the day that I looked forward to and found calming and freeing amidst the stress and pressures of the wider situation. I also made the decision to regularly post the images online in a kind of ‘commitment’ to keep going but also as a risk-taking exercise as drawing is ordinarily a very private aspect of my work.

As the days in isolation and the number of small bits of paper have formed a growing body of work, I start to see themes emerge which help to form a kind of visual vocabulary for my experience of lockdown…supermoons, sanctuaries, epidemiological curves and the landscape as viewed from the window, all feature repeatedly.

Increasingly I am viewing this work as much more than a therapeutic exercise, but as a growing resource and visual diary that will inform future work once this lockdown period ends. It is a collection and a time that I suspect I will view, in retrospect, as precious.

Liz Hutchinson

I am an artist maker working with various media including silversmithing techniques and photography. My work is an interaction with my surroundings, the beautiful Yorkshire landscape in the United Kingdom where I live and work.

My current practice uses a mixture of photography, textiles, drawing and precious metals to form collections of contemporary art jewellery that sit alongside photographic imagery. The work examines the post-industrial landscape of Calderdale and its textile history, drawing out themes of loss, decay and shifting perspectives as expressed in the abandoned mills so prevalent in the region. My work is a play between the permanent and the transient, between what endures and what is lost.