Outpost 231123
Using the line as a graphic means to probe/navigate elementary structures and three-dimensional frameworks.
Giacometti : Realities of Perception.
Drawings on the difficulty of the 'Figure In Space' and its representations.
The Creative Imagination.
Gaston Bachelard.
Rendering visible the essential enduring dimension of reality through energies of matter and confusion, being and becoming.
The Radical Nude.
Transfiguration and Masking.
Egon Schiele.
Schiele's fears of death, sexuality and disease, and his ambivalence about beauty and ugliness, both his own and that of the world he was part of, all of these conflicts play out across the surface of the skin and are transformed in Schiele's radical nudes.
What mattered for both Schiele and Nietzsche was not the fact of suffering, but how it could be transformed.
The pots/surfaces of Hans Coper endure the suffering of the artist.
Confronting The Naked Human Body.
Female Nude. 1910
Everything is living-dead.
An artistic corpus of a dangerous sexuality.
This female nude embodies the sinister complicity between sex and death.
Sneering Woman. 1910
An embodiment of Nietzsche's imperious and domineering free spirit, who with a not altogether innocent readiness to deceive and to dissemble, enjoys the cunning and multiplicity of its masks.
Uneven washes of white paint applied to the surface of Gerti's skin, which give her a sickly appearance. Her sneer, 'masks' signifies her own criticism and protects her from others, as she transforms herself into something greater than negation.
Alberto Giacometti.
Drawings and Watercolours.
The Bruno Giacometti Bequest.
Kunshaus Zurich. 2014
I realised that my vision changed daily, either I saw a volume or I saw the figure as a blob, or I saw a detail or I saw the whole. Given that models only posed for a very limited period, they left even before I had begun to capture anything at all.
Giacometti was asked to put his drawings with notes into chronological order. After making several attempts the artist declared that it was impossible to give the sort of chronology that was intended, because all of these copies take their place today as if on the same plane, without any chronological order.
Drawings and their nearness, a nowness/revelation of spatial proximities.
Drawing into the deeper ecology between things/matters of concern.
Drawings that struggle at the unknowing flux of things.
Drawing, Gathering Situatedness, nesting into the process of mark-making between the indeterminacies of self and others across the domain of a surface on paper.
The differing execution of the figures, some in heavier outline, others in a lighter stroke alludes to the appearance of the figures in space and their proximity and distance in the relationship to himself.
Views of the artist's studio executed sometimes in fleeting strokes and at other times in dense linear structures. They testify to the creative dialogues battling for artistic insight and understanding.
Drawings characterized by a fine network or net-like structure, containing intricate connective lines of matter and the layering of visual tissue/flesh.
Drawing into the corporeality of the architectural body.
Organism-Person-Environment
Arakawa, Gins.
Reticular Drawings.
Interconnected, Interrelated, Reciprocally Connected.
Reticulate, cancellate, cancellated, clathrate, having a lattice like structure, pierced with holes or windows.
Working/Making from within and with visual material.
Sculptor's Drawings/Sculpting in Time.
Martin Collis/Tarkovsky.
Drawing Nomadologies between points, paths and territories, producing forms derived from the movement/relay across surfaces and things.
Deleuze, Guattari.
Drawings on the phenomenal qualities of things and the relations with space between things, becoming into time through movements of spatial/temporal matter.
Giacometti, drawing out perceptions from swirling and reticular strokes and breaths.
