Zachary Eastwood-Bloom British, b. 1980
Moon, 2019
Plotted ink drawing
53.5 x 54 cm each panel
21 1/8 x 21 1/4 in
Approximately 170 x 160 cm overall
21 1/8 x 21 1/4 in
Approximately 170 x 160 cm overall
Edition 1 of 5
Zachary Eastwood-Bloom’s work investigates the ways in which humans attempt to understand the world around them, using methods such as storytelling, religion, science, and technology. Whilst studying ceramics at the...
Zachary Eastwood-Bloom’s work investigates the ways in which humans attempt to understand the world around them, using methods such as storytelling, religion, science, and technology. Whilst studying ceramics at the Royal College of Art Eastwood-Bloom began to explore the use of digital technologies in relation to a broad range of materials. This marked a shift in
his practice, in which he began using digital technologies in combination with sculpture and drawing.
'Moon', is Eastwood-Bloom’s largest plotted ink drawing and relates to his first solo exhibition at Pangolin London titled 'Divine Principles' in which he brought together historical representations of the planets with the mapped surfaces of these planets to distort them in a contemporary fusion. On his inspiration for 'Moon' he says:
"At the time I made the piece I was reading two books, one on the 18th century Italian engraver Piranesi and his etching process and ‘Moon’ by Oliver Morton about the history of human relationship with the moon. I see this drawing as an extension of the ‘Divine Principles’ show, which was going to have a moon in it but it didn’t quite fit, so I felt compelled to make it as to satiate an urge.
I like the idea of creating from a reductive common denominator, in this case a straight line. I was looking at Pirenesi’s etching and the way he created tonal variation from densities of lines. My approach is a digitised version of that where I created an image of the moon from six separate layers which collectively create a resolute cross-hatched image. It is gridded in nine parts because I wanted to make it fairly large, the relationship between the viewer and the drawing is important. The moon has a subtle gravitational effect on all of us and I wanted the scale of this image to acknowledge that.
his practice, in which he began using digital technologies in combination with sculpture and drawing.
'Moon', is Eastwood-Bloom’s largest plotted ink drawing and relates to his first solo exhibition at Pangolin London titled 'Divine Principles' in which he brought together historical representations of the planets with the mapped surfaces of these planets to distort them in a contemporary fusion. On his inspiration for 'Moon' he says:
"At the time I made the piece I was reading two books, one on the 18th century Italian engraver Piranesi and his etching process and ‘Moon’ by Oliver Morton about the history of human relationship with the moon. I see this drawing as an extension of the ‘Divine Principles’ show, which was going to have a moon in it but it didn’t quite fit, so I felt compelled to make it as to satiate an urge.
I like the idea of creating from a reductive common denominator, in this case a straight line. I was looking at Pirenesi’s etching and the way he created tonal variation from densities of lines. My approach is a digitised version of that where I created an image of the moon from six separate layers which collectively create a resolute cross-hatched image. It is gridded in nine parts because I wanted to make it fairly large, the relationship between the viewer and the drawing is important. The moon has a subtle gravitational effect on all of us and I wanted the scale of this image to acknowledge that.
Provenance
From the artist.8
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