Outpost 180424
The Body of Drawing/Butades.
Thinking Matter : Cosmologies/Constellations/Assemblages/Apparatuses.
Matter (as interlacing interplay that is dynamic and mutually defining) has its own nature.
In the thick of material existence.
Merleau-Ponty.
On The Hospitality/Intertwining of Lines
Making/Moving Matter/Theoretical Objects for Spatial Practises.
In and Out of Material/Matter/Matters of Concern/Sculpture
Tony Cragg.
Situated Practices/Architectures of Care/Concern.
Oren Lieberman.
The searching line proposes/launches visual observations/haptic responses, and conversely what is seen determines how the next line is to continue in a perpetual and recursive interaction that unfolds in ongoing time.
Relationscapes of/with/for Drawing.
What is drawing?
What is the nature of the drawn line?
Un-Learning Drawing.
The drawn line is raw, on permanent view of its emergence into the world, an open zone that operates in real time. Corrections to the line, challenge perceptions and build intimate relationscapes with the mind, body, media and surface.
'In drawing' we are perceiving the evolving process of thought and perception.
Avis Newman.
Praesentia, being present, a presence that is close at hand to the present moment or time.
The phenomena and its nowness/nearness in the light of day.
Drawing is driven from the outside.
The agent/agency of drawing admits that the process leads, the mind follows.
First the material signifier, marks on paper, then afterwards the signified, the depicted scene and its nominal referent. For Cozens the random application of splashes and patches of ink would at first appear a chaos, yet with a little skill, out of that chaos forms could be encouraged to appear. Blots might become clouds or the silhouette of hills. For Bryson, Cozens 'anti method' clarifies what the official ideology of drawing-as-transparency habitually mystifies. That the relation between subject matter and line is not at all a question of before or after.
Though far from being a work of philosophy Cozen's method/manual anticipates the broad outlines of Merleau-Ponty's description of the intending consciousness as always already in the world, in the thick of material existence.
Drawing the line involves an interlacing of outside and inside, a permanent cross-over between interior (the artist's mind, sensations,sensibilities) and exterior (paper, pigment,stylus).
A Walk For Walk's Sake.
Norman Bryson.
Studio Silences of Space-Time Phenomena/Phenomenology.
Existential becomings in the thick of our material existence.
The Poetics of Space.
Gaston Bachelard.
The Primal Scene of Drawing/The Trace of Butades.
Is all about preserving loss/the blankness of paper and a hand that is about to make its first trace on the surface. Drawing enacts the very moments of trepidation when a new image is about to enter the world.
Drawing is an art of presence and transparency of phenomena unfolding, a fusion between the artist's mind, the artist's hand, and the beholder's gaze.
On Drawing.
The work of observation is necessarily shaped by the line it leaves behind.
The drawn line conditions or models the selections from the field of observation. It launches observation along a particular direction or path.
Sunlight enters into architecture and sensations of bodily presence/perception.
Vessels unfolding through durations of light and dark.
Flesh/Sensation/Paint/Francis Bacon.
An Unconditional Body from Social Objectivity to the Extremes of Subjectivity.
Acts of both presence and transparency.
Mapping Subjectivity/Gathering Matter.
Organism-Person-Environment.
Architectural Body.
Art works and artists, all manifests themselves at the social interaction and reading/rendering of subjectivity.
The Stage of Drawing.
Gesture and Acts.
Like the drawings themselves, the exhibitions loyalty is to the immediate experience of the individual image rather than to the totalizing logic of art history complete with its grand narratives of social and cultural change. The exhibition reveals the convergence of real time operations (realities) the artist's visual idea in the time of its coming into the world, and the always ongoing work of viewing.
Pathways of difference, of the brush and pencil as they move through their respective spaces.
For The Brush.
Before it can touch the surface of the canvas, the bush has to orient itself according to the four sides of the frame, and then according to the total sum of the marks that have already appeared on the surface of the picture. It has to hover, to hesitate, to sense as though by dowsing where a channel in space may now open up, a groove in the total surface that the brush may now enter.
For The Pencil.
In drawing the presence of the 'reserve' frees the pencil from this complex calculus of the totality, reducing the scope to an area that can be taken in at once. A local area, that lies where the hand is now in praesentia. For Bryson this introduces the possibility that the drawn line, maybe closer to the immediacy of the artist's thought and perception than the line made on canvas.
No comments:
Post a Comment