In the 1970s, long before he became one of the UK’s most influential land artists, David Nash was a driven young man in search of a unique drawing technique. But even at this early stage, one aspect of his work was already highly individual: his modus operandi. He would lay ten sheets of paper on a home-made drawing board, hang it from his neck with a strap so that he looked like an off-duty cinema ice-cream vendor, and head out to look for a subject. “The point was for the subject to challenge me to find its unique marks. I wanted to avoid developing a style.”
In the woods, working rapidly ...
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