Interview: Fuller

Bristol artist Gareth Wood aka Fuller exhibits his hyper-detailed map of Bristol, hand drawn using black ink, as part of the current group exhibition Places, at the Tobacco Factory. Containing the personal experiences of the artist alongside hidden stories, curiosities and factoids, Fuller’s map attempts to connect with the viewer on a personal level, provoking a variety of thoughts and emotions that people share with their habitat.

Elsewhere in the exhibition, Anna Francis’ works are inspired by the Bristol A-Z and local Ordnance Survey maps. Natural contours, rivers and roads are highlighted, exploring natural and man-made forms. Similarly, Ashley Thomas’s warnings of resource depletion, Chitra Karve’s sculpture from A-Z maps, Miriam Mallalieu’s map collage (pictured below) and Ian McConaghy’s celebration of negative space in Ashton Gate all offer their unique view of maps in the 21st century.

Tell us the genesis of the Bristol Map – why and when did the notion come to you of producing a map of this size and detail?
I began drawing Bristol in 2010, although I’ve been making maps since 2005. I knew instantly, just from a few visits, that the typography, history and culture would make a fascinating project. It was a manageably-sized place that would help complement other major works I had started. I’ll never forget the breathtaking view from Ashton Court and thinking to myself, I’ve struck gold, this place is perfect to draw. The detail in the work is actually a little less than I’d have liked but to be sustainable I have to limit my time. In the future I want to be more ambitious in scale and detail. I’m looking for a good optician!

How long did the map take, both in research and execution?
I naturally began researching the moment I arrived in Bristol: drawing began around six months after. Research never stops, pockets of space exist all over the work as my experience and understanding of the place I’m drawing expands. It took over three years to draw my interpretation of Bristol. It was approximately 550-600 hours’ drawing time, and countless hours’ research time.

What did that research consist of?
I use many methods to build up the layers of information and create an aesthetic which, I hope, resonates with Bristol’s character. Walking or cycling provide the best travelling pace for research, and I use my phone camera for pictures and film. I pore over old maps, new maps, electronic maps and sit in the library for hours on end. I talk to strangers, friends and read the local news. I spend time in galleries, museums, parks – and I explore every urban nook and cranny I can.
Except for going underground, as I had a bad experience potholing with the Boy Scouts many years ago.

What’s your own Bristol story?
I started working for a Bristol-based company and relocated here in 2010. It’s been a five-year love affair and I hope our relationship blossoms into buying a home together one day.

Does Bristol transmit a certain feeling to you?
Absolutely. Although I spend a lot of time in other cities (as a map artist, it’s part of the job) there is a gut feeling when one travels over the hill on the M32 – it feels like home. The view stretches out, maybe a balloon will be floating across the sky. It’s one of the most relaxing places I’ve experienced, which is very important in today’s fast-paced and chaotic world. It has a generally honest, warm and friendly personality. Bristol also has a ferociously independent attitude. This doesn’t just mean small trendy cafes or artisan bread, but also more major pioneering projects – those incredible minds behind Bloodhound SSC, Children of the 90s, Concorde and Fry’s chocolate!

Tell us about the exhibition at the Tobacco Factory. What unites the various artists?
We are a group of six artists all exploring the meaning of place and our environment. The works, styles and methodologies on view are broad, but we have aimed to keep the art accessible. It’s important that viewers walk away feeling engaged and can ask themselves questions about their own interpretation of places they spend time in.
Ashley Thomas warns us of resource depletion, Anna Francis highlights both natural and man-made forms, Ian McConaghy plays with negative space, there is is A-Z map sculpture from Chitra Karve, collage works from Miriam Mallalieu and contemporary map art from me. A good mix!

Places is at the Tobacco Factory until 29 December. For more info, visit www.facebook.com/events/1025314990832667
You can read more about Fuller at www.fullermaps.com