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Sabine Kussmaul visual artist

  • Home
  • About
  • Practice components
    • 1 - Drawing
    • 2 - Line in landscape
    • 3 - Body-movement-environment
    • 4 - Objects: revealing process
    • 5 - Mapping experience
    • 6 - Inscription
  • Current work
    • 'working title'
  • Research
    • Artmaking outdoors (PhD)
    • 1 - Mobility: body & artefacts
    • 2 - Modularity
    • 3 - Sculptural drawing supports
    • 4 - Weather & topography
    • 5 - Marking human presence
    • 6 - Art as material practice
  • Exhibitions and events
    • 2025 Bakestonedale Moor...
    • 2022 Unpredictable, particular...
    • 2022 Marks and artefacts
    • 2021 Rock cover...
    • 2020 Mobile working kit...
    • 2020 Windsplatter inks...
    • 2019 Paper Scrolls...
    • 2019 Ghost Mills...
    • 2019 Fire...
    • 2018 Final MA show...
    • 2018 Marking process...
    • 2018 Book...
    • 2018 Erwood Reservoir...
    • 2018 Isle of Tiree I ...
    • 2018 Isle of Tiree II...
    • 2018 Isle of Tiree III...
    • 2017 Body and line...
    • 2015 Layering images...
    • 2014 Music...
    • 2013 Textile threads...
    • 2012 Earth surface....
  • CV
    • Education, employment, teaching
    • Exhibitions
    • Publications
    • Conference/Symposia presentations
  • Blog: building creative practice
  • Links
  • Contact
Sabine Kussmaul visual artist

Special composition scheme?

Added on July 21, 2017 by sabine kussmaul.

I was working on a commission and at the end of the process, I felt I should hand over the bits and pieces that were part of making the artwork, over to the people who commissioned me to do it. I just put all the pieces of sketch, notes and tests together in a self-made ring-binder. The visual aesthetic of the uncoordinated way of different pieces of paper coming together seems to have something really intriguing. I find that the openness of the collating scheme bears a potential that I see somehow connected to the way I work with paper and surfaces. 

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