In Papyro
A pencil drawing from the series In Papyro by Pak-Keung Wan
A pencil drawing from the series In Papyro by Pak-Keung Wan
Mother, 2010, pencil on paper, 42 x 59cm
 
A pencil drawing from the series In Papyro by Pak Keung Wan
Untitled, 2007, pencil on paper
50 x 68cm (framed)
 
A pencil drawing from the series In Papyro by Pak Keung Wan
Ovum, 2009, pencil on paper, 42 x 59cm
 
A silverpoint drawing from the series In Papyro by Pak Keung Wan
Orbis, 2010silverpoint on gesso,
66 x 85cm, (framed)
 
A silverpoint drawing from the series In Papyro by Pak Keung Wan
Frangere, 2010, silverpoint on gesso
56 x 76cm
 
A silverpoint drawing from the series In Papyro by Pak Keung Wan
Fecunda, 2010, silverpoint on gesso
66 x 85cm (framed)
 
A silverpoint drawing from the series In Papyro by Pak Keung Wan
Conungio, 2011,
silverpoint on gesso, 56 x 76cm
 
detail from In Papyro, pencil on paper
 
A pencil drawing from the series In Papyro by Pak Keung Wan
A pencil drawing from the series In Papyro by Pak Keung Wan
Brood, 2007
pencil on paper, 150 x 200cm
Installation: Fermynwoods Contemporary Art
a pencil drawing from the series In Papyro by Pak Keung Wan
detail of Fissure from the series In Papyro by Pak Keung Wan
detail of Fissure from the series In Papyro by Pak Keung Wan
Fissure, 2007
pencil on paper, 150 x 200cm
Installation: Fermynwoods Contemporary Art
 
 

(In Papyro) is an ongoing series that began in 2006. Each drawing consists of a single line and evolves from a simple rule; that when this line extends out from its initial point it must return to that point before projecting out again. Over time if that initial point can no longer be connected to, due to the sheer abundance of lines, then another point can be established and the drawing proceeds.

 

I liken this rule to DNA, something inherent that unites all these manifestations yet allows for a freedom through which other forms can unfold.

 

Days can be spent drawing these undulations, these folds, peaks and crevices. Their making involves dextrous projections and returns, pivots and ellipses. Yet over time alternative trajectories are revealed, new appendages break through.

In Papyro grew out from an experience of trying to conceive. Against the backdrop of medical vagaries and feelings of futility, drawing is employed as a method to invoke, calling upon forces to aid and assist. I see In Papyro as visual spells that attempt to influence biological processes and living matter. A parallel activity willing life to emerge, to form; a calling from one body to another.