Outpost Studio 221021
Material in space, working with spatial agency/thinking movements
The use of any material that helps any figure/organism exist in any given framework/environment.
Working Things/Coalitions of Material, Meaning and Form
Heuristic Discontinuities and Materialism
Studio images, black windows, arch model,
Kounellis/Oren Lieberman
Architectural Proposal/Spatial Agencies
Marking/Demarcations/Corporeality
Drawing as an impromptu heuristic tool.
Gordon Baldwin, charcoal drawing for a vessel in a landscape.
Drawing Materials, Blue lever arch
Exploded contents into critical/subjective analysis/displayed as assemblage around the environs of the studio
Content/First Readings/Shifting/Splitting discontinuities between organism, person, environment.
Richard Serra
Drawings Work Comes Out Of Work : Eckhard Schneider
There is no way to make a drawing - there is only drawing
Richard Serra, 1977
A sculpture grammar, based on formal reductionism, an active site-specific reference, and the central theme of gravity and balance. This results in sculptures that let the viewer experience the critical balance of different forces and whose large-scale dimensions impart a strong physical and emotional experience.
Large scale drawings and monoprints
Paintstick on paper and cloth.
Pressure is exerted on the back of the paper with a hard marking tool.
The paper treated as an active substance rather than a passive ground.
Liquid material under pressure shoots out and produces the explosive markings at the edges.
I don't see the drawing I am making until the paper is pulled off the floor and turned over or the screen is lifted.
Precisely because every illusory strategy is avoided, the forms are at the same time able to imply weight, mass, and volume.
Warming or melting the material for his drawings, he applies it either directly onto the paper with large sweeps of his arm, or he uses a window-screen as an intermediary surface through which he presses the colour.
The material and the entire work process serve to build the drawing step by step. It is an elementary process, which, carried out with intense energy, is the result of direct action. By splitting and discontinuing the flow, Richard Serra avoids the gestural and allows a dense superficial construction. Serra avoids gestural features in order to sharpen the awareness of the viewer and draw attention to one's own corporeality. He is not concerned with subjective gestures or narrative references; at the core of his drawings is the principle of marking, of the anonymous characteristic style in which the drawing seems to find its form through the density of the material and the compact work process.
Unlike the site-specific Wall Drawings, which, rendered directly onto cloth, operate with the proportions and scales of the existing architecture, Serra's drawings on paper are not bound by content. The frame serves, instead, to separate the paper drawing from the wall.
Serra is fully aware that the weight of a drawing does not just depend on the layers of paintstick applied, but above all on its form.
I like to draw. It is an activity I rely on, a dependency of sorts. Drawing gives me an immediate return for my effort and the result is commensurate with my involvement. It is an activity that requires solitude, it is the most concentrated space in which I work.
The colour he uses is black, a dense layer of paintstick absorbs and dissipates light; what emerges is the mass, density, and volume of the drawing.
For Serra, black is a property, not a quality. In terms of weight, black is heavier, creates a large volume, holds itself in a more compressed field. It is comparable to forging. To use black is the clearest way of marking against a white field. He finds it also the clearest way of indicating something without triggering associations because black is interpreted as a material substance rather than a colour.
Convertible Facts : James Lawrence
Drawing is transformative.
Drawing is a primal, fundamental concept, an activity intimately connected with the raw terms of life as it is lived. Artists prize drawing not only for its inherent qualities, but also for its virtues as an impromptu, heuristic tool. Rapid and agile, drawing is easy to adjust, erase, supplant, emulate, and if necessary, discard. It is a fluid means of anticipation, often prior to translation into more celebrated form.
Tony Cragg
In And Out Of Material
Interested in the coalitions of material and meaning and in the content of form.
MATERIAL IN SPACE
Working Things, Reflections on Tony Cragg's Sculptures : Robert Kudielka
Materialist
Materialism means the sculptor's experience that only through the effort of working things is thinking also able to move and change. The material assumes a new form, and the sculptor discovers new contents and meanings.
197
For Cragg, the German language in particular provides a unique possibility of distinguishing clearly
between the thingness, objectness and objectivity. Kant.
The Rebirth of Sculpture from the Spirit of Matter : Christoph Brockhaus
Art Povera
The relationship between people and their environments and the things, materials and images in this environment, the relations among things,materials and images.
Collecting and Ordering Found Objects, Things, Materials, Images.
Formal Thinking With Matter
THINKING IS FORM
The Drawings of Joseph Beuys : Temkin, Rose
Northern accretion of detail from many sources, he explored several directions and mediums at the same time. 92
RODIN BEUYS
Rodin's lines don't just represent carnality, they are themselves carnal, invasive, sexy.
The Drawing Book : Tania Kovats
Drawing and Random Interference/Quantum Chance
ECSTASIS/MATTERING
QUANTUM CHANCE : Janna Levin
DRAWINGS : Antony Gormley
BODY, 2009-2011
A state of becoming, a dispersion of being part of space and time.
WRITING ON DRAWING : Essays on Drawing Practice and Research. Steve Garner.
The Erotics of Drawing : Jonathan Cooper
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