The Process Of Drawing Is Left Visible.

 Outpost 270323

The Process Of Drawing Is Left Visible.

On Drawing, John Berger.

Raveningham.

Garden/Ground/Circulation Diagrams.

Notes appropriated from 

The Scripted Drawing.

Social conditioning underpinning education.

Cultivation Field.

Spatial Registers/Spatialities/Ideologies between consciousness and social existence.

Collaged Activities/Inquiry

Boundaries/in the making between the personal and the commonly shared.

A space where the individuals mental reality meets cultural narratives.

Frames of Consciousness.

Stencils/Templates/Windows/Intermediaries.

Double Occupancy/Discourses and Events.

The Confessional Metaphor.

Jean-Jacques Rousseau.

Corpus.

The Individual/Birth to Presence.

Jean-Luc Nancy.

Circulation Diagram.

Architectural Programming.

The Shower Room.

The Changing Room.

The Life Drawing Room.

The Darkroom.

Mobile Architecture/Event Architecture.

Further Figuring It Out.

Maussion's very choice of the nude recalls the most classic of strategies within the tradition of easel painting, but as we have seen it is one mediated by the mechanical effects of photography and the distance of memory.

William Jeffrett, 1995.

Charles Maussion. SCVA/UEA Norwich.

Life Drawing/The Contested Sociological Subject/Corporeal Gaze.

Drawing as an extended method of seeing and of recording experience.

Drawing From Life as Ideas and Process.

We have schooled ourselves to see, by acquiring the capacity to depict ourselves.

The human body, drawings/depictions seen through concentrations of our personal/private selves.

Alberto Giacometti. 1901-1966.

Standing Nude, 1955.

Sainsbury Centre, UEA Norwich.

The body as the instrument of our emotions and our sensuality. 

In all its starkness this figure is a most sensitive and complicated mechanism. The naked human is seen as a symbol of existence achieved through observation of painful acuteness.

Herbert Boeckl. 1894-1966.

All Boeckl's life-drawings are distinguished by a strong physical presence. He is truly concerned with interpreting life in terms of human bodies, of the beauty of functioning muscle and bone and with the tactile aspects of flesh, as well as the knowledge of what lies beneath it. His nudes speak a physical language. He uses charcoal as a technical means to best achieve lucidity.

Boeckl is not concerned with 'beauty of line' as his predecessors Klimt and Schiele were, he always sees the body in the context of space and draws 'from within'. He builds up his figures from a structural core, the surface of his forms take on a strongly moulded, modelled aspect through a great economy of means.

Naked to Nude, Life Drawing in the Twentieth Century.

Georg Eisler. 1977. 

Rendering sensuality in everyday occurrences.

Drawings as concepts, forms of thought/seeing.

Ambient light and shadows over architectural surfaces.

Blurring the conventional distinction between the figure and the ground.

Life Drawing and the psychology of nakedness.

The practical and theoretical problems of confronting/drawing the human form.

Drawings from life contain a sense of physical presence, of a functioning logic.