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Title : Sketching and the subconscious
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Sketching and the subconscious

[Guest post by Richard Aitken, Melbourne, Australia] We sketch from direct observation, but in telling stories do we distort or enhance truth? Late last year I found myself in Lithgow, three hours west from Sydney. Down on its luck, this intriguing former industrial town is reinventing itself—stainless steel and wine-by-the-glass is fast replacing glazed tiles and draught beer.

I seek the vulnerable and obsolete as a theme in my sketching, and Chinese restaurants in Australian country towns are demonstrative markers of the changing urban scene. My sketch of the 1970s King’s Chinese Restaurant (above) was intended to convey the facade’s faded glory and dramatic topography on an escarpment yet I seem to have also unconsciously parlayed the scene into an Oriental fan.

The blast furnace building of the town’s former iron works is a gift for sketchers. My early morning rendition suggests the arrested decay of this conserved monument but also seems imbued with an energy derived from its origins, the walls looking to explode from some pent-up internal force.

My flight back to Melbourne was rescheduled so I took the opportunity to race back into the city to sketch the Sydney Opera House. This is on every sketcher’s "to-do list" and my first attempt played it straight, as if the spectacular vaulted roof sails mock any further distortion. Circular Quay and the adjacent SOH forecourt were packed, yet only two people came to talk, teenage Aboriginal dancers waiting to perform at a nearby Indigenous arts festival. I suspect they were from out of town and for them the scene was full of wonder too. My sketch? "Wow, cool, man."

Richard Aitken is a historian, curator, and writer. His most recent books are Cultivating Modernism (2013) and Planting Dreams (2016). Read his previous guest post here.

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