LIZA DIMBLEBY
  • WRITING
    • Writing on Painting and Drawing
    • Writing on Art and artists >
      • Chagall's Box
      • What to Do After a Death in Scotland: paintings by Andrew Cranston
      • Sight Deserted, on Tony Swain
      • Along the Canal d'Ourcq, a Drawing Walk
    • Other Writing >
      • KinkintheArc
      • Cartwright Gardens
      • Morning
      • Attention
      • Almost Like Any Other Saturday
      • Everywhere is Somewhere
      • In the basement flat opposite somebody is practicing a trumpet
      • Painting and Naming
      • Days and Pages
      • Texts on Russian writers and artists
  • DRAWING
    • Drawings from the City >
      • Whitechapel market (1)
      • Whitechapel Market (2)
      • Waterloo Subway Series
      • Moscow subway (Jazz band)
      • London Drawings
      • Moscow Drawings
    • Drawings from the Studio
    • Drawings from the House
  • PAINTING
    • Domestic series
    • Give Generously Series
    • Tom Thumb
    • After Image Series
    • Vuillard Series
    • Degas series
    • From Film
  • ARCHIVE AND UPCOMING
  • CONTACT/LINKS
PAINTING and NAMING
I want to describe this world to you - to name everything. Each thing, as I see it, as I walk through it. To fill it in, each part, and tell you how it is.  This is my love and what binds me back in to this strange and incurious world. 
The painter reaches out and pushes in, the touch of the brush reassures the world that it exists. The paint soothes and gives strength. Painting is an evoking, the pressure of a physical solidity that is close to naming. Each is an attempt to draw closer, an act of recognition, of love and of the need to bind oneself more closely to the seen world. Words should be as solid, physical, as determinedly close to the thing as the movement of paint. Tangible and oily.