Pin Tray c. 1939

Helen Hobart made this drawing of a pin tray, sometime in the 20th century. Look at the repetitive, almost mechanical quality of the marks, like a series of delicate grooves, that give the rooster’s body its rounded form. It’s an interesting approach, making something feel solid through a very linear process. The drawing is all about the surface. Hobart’s use of graphite creates a subtle range of tones, playing with light and shadow to give depth and dimension to a humble object. I am drawn to the tail, which has this kind of radiating energy, as if each line is a vibration. This mark-making gives a sense of movement and presence to the rooster, beyond just being a still-life. It reminds me of some of the more graphic, diagrammatic drawings of Alfred Jenson. But where Jenson uses colour to create meaning, Hobart’s tonal range is more subtle, bringing a quiet focus to the everyday. It shows how paying attention to the process can transform the mundane into something truly captivating.