Extraneous Drawing #70
With the barriers well and truly tumbled, the path lays bare for the young artist to detail the variegation of her feelings and perceptions. Liberated from the sematography essentially employed in the earlier documents, Naomi begins to chart in diaristic form the ontogenesis of her bereavement. As with the later part of the third School Sketchbook, the commencement of the seventh School Sketchbook corresponds with an absence of complementary, or indeed supplementary, Extraneous Drawings as if the youngster is once again dispensing all inspiration into a single receptacle. The beginning of the seventh book also lay concurrent with the release of the children for the half term recess.
Alone with her memories and with nothing but her seventh School Sketchbook (SSB.7) for company, Naomi instigates a rapid free association concerning her patrial disquiet; thirty of the sketchbook's pages emblazoned with photographs, heartfelt confession, and noble sketches in only seven days. Apparent amongst this ardent assortment rest several regions of interest. The initial thirty pages can be viewed as a microcosmic re-enaction of the early patrilineal sequences evident in the Extraneous Drawings. Indeed certain pages of the book mimic in detail the string of images found in the preliminary separates. Many drawings are borrowed from adjacent photographs (each of which bears testimony to an important date in the David Jelish timeline). The later part of this flurry of inscriptions revisits the disjointed imagery of Extraneous Drawings forty-two to forty-six (ED.42-46) though in this instant each image is awarded an appendage of verse by the artist. It is in these writings that the young artist unclothes her soul, revealing several of the image fixations that persist throughout the corpus of work.
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