Here I started to use the masking tape torn from previous drawings as a modelling material, in the same way that I would use clay to model for architectural work, tearing off small pieces and applying them spontaneously to the paper laid on top of cardboard because I liked the texture. Then used the technique of shading and spraying with spray fix until liquid and finger painting with it until it sets – usually a matter of 3 or 4 seconds, cold on the finger tips and hard to breathe. I hold my breath while im doing the last part and then get out into fresh air. It reminds me of the noise and dust of the stone workshop. The urgency of it all forces spontaneity and gestural generality. I like this because I don’t know what the end result will look like until its fully dried, the air is clear, I peel off the tape and hold up to the light. The image on the left is back lit and on the right not. As with stone work its about the relationship between the material removed and the material left behind. I keep the blackened tape that is removed and re use in other drawing-sculptures. In this way the drawing becomes just material for an ongoing project – a small part of a much larger piece of work – with uncertain beginnings, uncertain sources and an uncertain end. Uncertainty is the antidote to Modernisms certainty arising in the Enlightenment, but also to the knowing irony of Post-Modernism. Certainty can stifle creativity and exclude the viewer. Uncertainty cultivates creativity and is inclusive of the viewer.