Outpost 220424
Exploratory Practices.
Drawing
Drawing on the awareness of a spatial experiential experience not a totalizing context of framed visual analysis and information.
Life Drawing Session and Sensation.
Before The Tyranny of the Framed Subject.
The Observer and Framed Apparatuses of Display.
Art Bodies/Pathologies of Flesh/Corporeality in Contemporary Fine Art Practice.
The Written Nude.
Fiona Banner: Performance Nude
From 'The Birth of Venus' to art school classrooms across the globe, artists have, over time, employed life models in an attempt to capture the essence of the female nude. One such artist is Fiona Banner. As this book Performance Nude illustrates, Banner uses paint and line to portray her models; however, she renders them not in figurative gestures, but in words. Straying further from traditional methods, she specifically uses 'real' women rather than practiced life models as her subject, choosing to capture the strain and tension created in the room by the presence of a novice. Whatever discomfort is revealed in the relationship is tested further by introducing an audience to the room and filming the scene for up to an hour. The effect is at timespoetic, at others searching and critical. By portraying her nudes in this way, Banner questions the difference between looking and perceiving; the separation between experiencing something, and the language we use to describe it.
Un-Constructing the Image/Deconstructive Readings of Totality in Drawing.
Marks produce 'localized instants' of visual proposals/propulsions overcoming things.
Drawings gather 'instants into forms' that are themselves derived from alternative and recomposed durations of experience.
Drawing Surfaces/Sensations : Experiential and Conceptual.
Marks of/Marking : Nowness/Instants/Proximity/Immediacy.
It is the very nature of the 'reserve' that allows drawing to create an 'instant' that proposes the interlacing, interplay of the drawn line as a both dynamic and mutually defining.
The 'reserve' (a spatial perceptual surface) is the apparatus through which drawing actually functions it supports and manifests all of drawings phenomenological values.
Drawing 'transponds' feeling, thinking, seeing,into visual durations of sensations and experience.
Line creates spaces, sensibilities between interior (mind, sensoria, sensations) and exterior (matter, material, surfaces) both of which merge/reciprocate and underpin our existential becomings in the thick of our material existence.
The Searching Line, that proposes, demarcates, launches visual observation and their haptic responses. Schreiter/Lefebrve.
A reserved spatial surface un-folding marks/gestures of both transparency and presence.
Drawing has always been able to treat the whiteness of its surface in a fashion unique to itself. As a 'reserve' an area that is technically part of the image (since we certainly see it) but in a neutral sense. An area without qualities, perceptually present but conceptually absent.
A key consequence of the 'reserve' is that the drawn line can be released from painting's imperative to bind each and every area into the totality or tyranny of the image as overall design.
Instead 'in drawing' the moment that the line is drawn, it can determine its nature and shape with reference only to the local area to which it immediately belongs. It produces a proximity of a different pictorial logic, that can now assert itself in which the ongoing present time of the drawn line can unfold in its own specific milieu.
Marks on clay surfaces, both plastic and fired, sculptural and pictorial.
Paper Cuts/Collage/Glass/Paint/Line/Filtered Light.
Drawings/Collages/Photography/Performativity.
Woodman/Rodin.
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