Author Archives: TVHerrewege

The Great White Shark, 2019. Graphite on white washed plywood that is then sanded. 50 x 40 x 4 cm. Framed in white varnished obeche

Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away.

This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.

The Sperm Whale, 2019. Graphite on white washed plywood that is then sanded. 125 x 93 x 4 cm. Framed in white varnished obeche

The Sperm Whale, 2019. Graphite on white washed plywood that is then sanded. 125 x 93 x 4 cm. Framed in white varnished obeche. £2,600.

Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away.

This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.

The Polar Bear, 2019. Graphite on white washed plywood that is then sanded. 125 x 93 x 4 cm. Framed in white varnished obeche.

Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away.

This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.

The Maned Wolf, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche

Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away.

This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.

The Giraffe, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche

Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away.

This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.

The Harpy Eagle. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. 2019

Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away.

This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.

The Gaur, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche

Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away.

This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.

The Whale Shark, 2020. Graphite and acrylic on plywood. Framed in white varnished obeche. 70 x 85 x 4 cm

I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.

The Great Hammerhead Shark, 2020. Graphite and acrylic on plywood. Framed in white varnished obeche. 70 x 85 x 4 cm

I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.

The Blacktip reef shark, 2020. Graphite and acrylic on plywood. Framed in white varnished obeche. 70 x 85 x 4 cm

I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.