Outpost 230323
Drawing, depicting something found through the process of making visible.
https://www.flickr.com/photos/russellmoreton/
The Luminescence Of Space.
An Archaeological Inquiry Into Drawing.
Correspondences/Reclaiming the drawings.
The Affect and Memory of Drawing.
To interrogate ways of seeing/looking, John Berger.
The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.
Colin Renfrew.
The Myth of Butades.
Figure/Ground Relationships.
Theoretical Thought : Diagram and map.
Neo-Sumerian temple plan on clay tablet from c. 2100BC.
The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.
Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.
Drawing/Substance/Memory/Display.
The artist's creative act, is of a self amongst others.
Material/Thinking Matter.
Drawings mediated by the distance of memory.
Art Works, subtle embodiments, visual markers both spatial and sociological.
Life/Drawing/Figuring It Out.
The Luminescent Dematerialization Of The Subject.
Expressions Of Both Figuration And Abstraction.
Phenomenological approaches to Drawing/Looking/Others.
Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.
Walking/Movement is quiet literally what made us human.
The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.
Richard Long/Colin Renfrew.
Charles Mausson.
Walking Man, No. 3. 1990.
Oil, crayon, 203.0 x 137.0 cm.
Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.
Robert Combas. 1993.
The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet.
Sophie Dupont. 1995.
The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.
The legibility of the photographic image was denied by the process of blurring the image.
Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.
William Jeffett. 1995.
Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.
Figural Expressions.
Figural dissolution of a nude descending a staircase, Marcel Duchamp.
Stop-motion photography of the human body in motion, Etienne Marey.
Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.
Notations.
Contemporary Drawing as Idea and Process.
Fred Sandback.
The Drawing Room.
The Secret Theory of Drawing.
Jim Dine.
Figure Drawings, 1975-79.
The Drawings of Richard Diebenkorn.
John Eldenfield.
Manuel Neri.
Drawings/Relief Sculptures.
Naked To Nude.
Life Drawing in the Twentieth Century.
Georg Eisler.
