The icon is challenging, no, paralysing me. I have tried three different Japanese washi papers, Kizuki Kosovo, Yuki Gampi and Tosa Shi (strong, lightweight papers made from mulberry or bamboo), that should have worked but don’t.
I am now awaiting delivery of a yupo paper to continue experimenting.
I am also experimenting with hot pressed (smooth) Saunders and Fabriano 250lb high white papers, which are proving more successful. That said, I am still not happy with the images I am producing and am struggling to stay motivated. I have decided that I need some separation.
So to ease the pressure I am simply playing with the paints creating small abstracts.
In between watching the paint dry and revisiting old works that I am not completely happy with, I have been producing a large charcoal work of the damaged Jesus, over two metres long onn Fabriano paper.
The logistics have been interesting in my temporary studio, where I do not have a suitable wall. I will need to complete the left hand side of the work before moving the paper, as currently the right hand side is over the light switch. Oh for a more suitable studio.
susanmilleruk 
HI Susan, I enjoyed your little abstracts (good luck with the next paper experiment) but I really was very struck by your ‘big Jesus’ – having seen the rather unnerving statue I wonder whether you would consider doing something dramatic with the dissolving leg – something that involves water perhaps? It’s a beautiful drawing, and it looks ‘dry’. The strange thing – for me – about the actual sculpture were the powdery and water logged/damaged qualities all at once. I trust this isn’t the kind of response that one is expected to make, but your drawing wouldn’t leave me alone …
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Thank you Kathleen for your observations. I have yet to shift Jesus to the left to complete his leg, but I too have been pondering. This piece needs to lead somewhere, but I don’t know where. I will live with it for a while and ponder some more! X
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