Lemon 2021
View of the Leifeng Pagoda, West Lake, Hangzhou, China 2019
View of West Lake, Hangzhou, China 2019
Orchid 2017
Iceberg study 2017
Orchid 2017
Basalt intrusion at Elephant Cove 2015
Dead Parrot Sketch (with apologies to Monty Python) 2015
Bust of Marcus Aurelius 2015
Horse head from the equestrian portrait of Marcus Aurelius 2015
View from my balcony, Venice 2015
A tree by the Swan River, Perth 2015
Fig leaf study 2015
Study for Accretion Room interactive video installation 2015
Study of banded iron formation 2014
A mummified frog 2014
Pilbara landscape 2013
Pilbara formation 2013
Tree study 2013
Pilbara landscape 2013
Locust 2013
Strata study 2013
Braid 2010
Tree and gourds, Bali 2009

From my sketchbook

Drawing is visual thinking. This is where I post sketchbook drawings and other visual play, regardless of whether they relate to other finished works. As with my Instagram feed (@casparfair), this page serves as both an informal background and broader context to my finished work.

Sketchbook drawings, observation and perception

All of the drawings of real subjects are drawn by direct observation: I never draw from photographs. That’s not because I regard working from photographs as an invalid or wrong activity — though it is a poor and inadequate substitute for a sound knowledge of drawing. Rather, it’s because what I value most in the process of drawing is the direct experience of analysing perception that it can entail when properly considered.

When you work from a photo, you have no perceptual information other than that which has been captured by the original you’re working from. To make matters worse, camera lenses introduce their own perspectival space, which differs from that of the human eye. It’s very easy to miss or ignore this difference. Of course, the nature of camera perception as compared with human perception is a very interesting subject in itself — one which I may pursue at some point in the future.