Exhibition of work by Fiona Robinson RWA exploring the relationship between drawing and music
“Drawing is the closest thing to pure thought, not in a philosophical sense, but in terms of the immediacy of the connection from eye to brain to hand. I draw, because I must, in order to understand. It is a way of knowing something.”
Fiona Robinson’s work is increasingly informed by music. Using the language of drawing she creates an equivalent of, a transcription of, music. It is not a system of notation, not an alternative to a musical score to be reinterpreted, it is a response to the sound.
This exhibition contains recent drawings of specific Claude Debussy pieces. They follow the free-flowing movement of the composer’s startlingly modern musical language, exploiting his combination of extraordinary freedom and discipline. Lines loop and tangle circling each other in L’Après Midi d’un Faune whilst the drawings of La Mer, capture the tumbling storminess of wild seas. Throughout, mark-making functions as improvisation.
The Debussy drawings are shown alongside earlier work exploring the Baroque structure of J.S. Bach’s Six Suites for Unaccompanied Cello; Gustave Fauré’s Sonata in A for Violin and Piano and John Cage’s, lyrical piano piece In a Landscape 1948.
Robinson’s drawings present a communication between composer and artist, a conversation between two practitioners, through the languages they use to express their ideas. This is where the music and the drawing connect.
Link Space on Lower Ground Floor