A series of drawings based on diagrams of the flight paths of insects. Fascinated by the physical evidence and the way it dissolved into the invisible, Deborah's aim was to capture the distinct movements made in the air & record them in a way that gave the viewer a feeling for individual energetic characteristics. Several of these drawings were shown in 'Quintessential', Coffeeismycupoftea, Dalston, London, 2017. These drawings led to the creation of a ten year series of sculptures made with wire, cable and recycled electronics, highlighting the over consumption of contemporary life. Shown in her solo show: 'Quintessential'; 'If Not Now When - Generations of Women in Sculpture in Britain 1960 - 2022', at Hepworth, Wakefield, 2023 and Saatchi Gallery, London, 2023/24. Sizes: 50 x 50cm - 70 x 50cm.
A series of energy drawings, a precursor to a later series: 'Objects and Energy'. These drawings aimed to capture the essence of unseen forces which drive the natural world, evidenced in the movements of water, wind, birds on the wing. These drawings allude to the human driven detritus increasingly found entwined within the earths energetic fields: becoming an integral part of our eco systems - for good or ill. This series relates to an on going series of sculptures: three dimensional drawings, combining recycled wire, cable and electronic waste. Drawings sizes: 40 x 40cm - 70 x 50cm
This series of drawings is based on observation of murmurations, Once again the inspiration was the invisibility of the pathway, as thousands of starlings twist and turn on the air, creating fantastic shapes off unimaginable complexity. Each individual follows their own path, but in relation to all the others - an individual creation as well as a collective enterprise. A microcosm of the Gaia theory of the interconnectedness of all living things in our universe. These drawings led to the creation of installations shown in group show of members of the Royal Society of Sculptors: 'Together We Rise', Chichester Cathedral (2022) and informed an installation for her solo shaw: 'That Playful Place', Ken Artspace, London (2023). An ongoing series of small works: 'Objects and Energy' series, juxtaposing found objects and pre-made 3d drawings in black annealed wire. Drawing sizes: 25 x 35cm - 150 x 250cm.
This series is the beginning of the 'Objects and Energy' series of drawings and sculptures. The drawings explore the relationship between discarded man-made objects and the energy forces of the natural world. The juxtaposition of objective drawing and an expressive mark making points to the way in which man-made objects have become integral part of the natural world: polluting rivers, oceans, land and sea. The abandoned objects point to the waste we create in our daily lives, often with no thought for its consequences. The energy of the natural world collides with objects, ultimately breaking them down into tiny particles now found in the air we breathe, the water we drink and the food we eat. Micro plastics have lately been found in human blood, semen and the placenta. This work asks: 'When will we act'. Drawing sizes: 25 x 25cm - 50 x 70cm.
'How Lines Are Made' is a series of drawings which emerged from observational drawings of the natural world made over a period of twenty years. Repeated patterns emerged over time - the natural consequences of movement of water, rock formations and insects going about their daily lives. This study revealed previously unknown, and therefore unseen, conglomerations of colour, form, textures and evidence of the passage of time: a wave may create a foamy edge which runs up the beach; the wind may blow leaves into fascinating shapes on a verge; ants create circles, wavy and curly lines as they search for food or their next abode; slugs leave trails of slime over everything in their path. These pieces aim to capture the drawing that nature creates and leaves in its wake - a union of form and function. Drawing sizes: 25 x 35cm - 50 x70cm.
The 'Ant Series' of drawings came out of the discovery of ant hills in Deborah's garden. Fascinated by these natural objects, she began working from the observation of life being lived, creating ever changing forms, lines and pools - pulsating with the energetic movements of thousands of tiny creatures working together to survive. Through an experimental phase, she developed processes for creating forms heaving with life and energy - mimicking the frenetic movement of her original subject. A large series of drawings came into being. The smallest 35 x35 cm, with the final pieces spanning two meters, created in sections on the floor of her studio. Third to last image, shown in 'Quintessential', solo show, Coffeeismycupoftea, Dalston, London 2017 and at Dartington Hall, Devon, 2017.
A series of drawings of rock formations, spanning fifteen years. These began with a love of the patterns created in the natural world. Observational drawing captured rhythms, patterns, movements and energy which underpin the creation of all life. Repeated studies revealed the ways in which structure forms, reforms and settles into a semi solid state: a record of millennia of activity. A cliff may bulge, rock may fold, new materials may be added, others worn away by the elements. These drawings aim to replicate these movements, while experimenting with drawing techniques. In the later pieces, for example, the final image (35 x 50cm), Deborah began to evolve systems and processes to create abstract similes of these observed patterns. These developed into larger floor drawings up to 100 x 150cm.
A series of wall sized drawings from the 1980's and 90's made with pastel, pencil and charcoal. These drawings created on the floor of Deborah's studio over a period of five years, recorded, then explored forms and movement from her three dimensional drawings in wire and cable. During the working of these pieces, she began with direct representation of the sculptures juxtaposed with on another. She then extended the techniques into a free flowing, experimental drawing and ultimately drawing directly onto the walls of galleries (final two images): 'Trespass', a solo show, Adam Gallery, London, 1991 (150 x 150cm); press photograph taken at 'A Drawing Show', a group show, Waterman's Art Centre, 1989 - for which Deborah created a drawing 9 meters long, which was stapled to the gallery wall - giving the impression of floating off the wall.
Inspired by beetroot juice in bottom of cup. A cup left on the kitchen service for twenty fours hours, provided the inspiration for this series. 'I glanced at the cup and stopped - my eye caught by the glorious patterns which had formed over night. Deep reds, fading to pinks, full of bubbles merging into one another, frozen in position as the liquid dried.' This lead to a series of drawings 50 x 50cms, beginning with straight forward observational drawings (first image), subsequently leading to a playful experiment with growing forms on the page (final image). Other observed situations added to the series: soap bubbles in the sink; soup left in the bottom of the bowl; gushing waves upon the shore. Taken up again repeatedly over the years - this work can be seen in drawings and sculptures up to the present day. Most recently 'All Washed up?', made for 'One Island, Many Visions', a group show with other members of the Royal Society of Sculptors, Portland Sculpture and Quarry Trust, Dorset, 2025.