Outpost 230124
Architectural Body.
Thresholds.
Drawing.
Confronting Bodies.
Drawing : The Indexical/To Work Inside
Feeling.
Inscripting Self : The Daughter of
Butades.
Kairos : The movement and its moment.
Being Alive.
Tim Ingold.
There is no stage at which humankind
does not demarcate, beacon or sign his space, leaving tracers that
are both symbolic and practical.
Lefebvre, The Production of Space.
Drawing on the Movements of Desire and
Attention.
Empirical evidence carries emotional
connections, Bachelard.
The drawing itself is desperate to keep
hold of an absence, it all began with a silhouette of a shadow on the
wall. In the myth of Butades, the drawing is not generated by 'loss'
itself but the her anticipation of loss captured in the moment of
turning away, and act that unites blindness to memory.
Derrida.
Drawing is a gaze turned inward into
the task at hand, it draws on the inevitable, displacement and
absence of the 'thing' and its relation, its otherness.
The 'mark' and its imaginary space are
encountered as a fact of existence. In drawing it is this evidence of
beingness that is invested in the work, 'drawing itself' becomes a
coming-into-being into the presentness of language of the image.
The image corresponds to its own
unfolding pulsion, to an obsession, to a desire to expand its own
flux beyond the assigned body. Material keeps desire on the inclined
plane of appearances surrounding it with its gravity, the drawing
materializes a surface in which desire condenses itself and
infiltrates inside the oppressive operative grids/apparatuses of
language.
Drawing on the holding apart instances,
moments and intervals between consciousness and self consciousness.
The early formative drawings of children are not guided by a visual
exploration of space, but by the hand as an exploration of movement,
it is only later that drawing is guided by the eye. In children
graphic expression is blind, disconnected from perception, rather it
is led by muscular, tonic and plastic sensations.
The 'Stage of Drawing' is at attempt to
discuss what Avis Newman believes to be a crisis in art as to how an
artist deals in a non-literal way with a sense of humanity, which for
her is part of the essence of the artistic project. Her selection
from the Tate Collection is based on a definition of drawing not as
expression, but as an act of consciousness, the manifestation of
which is culture, and by extension the social and political realm. In
this exhibition, drawing tends and relates to the indexical as the
effect of a corporealized process. In fact the aim is partly to
divest drawing of the artist, so one can see this act of
consciousness.
According to Newman, this indexical
definition of drawing is opposed to a materialistic one, which would
be about investment/authorship in the material world and would
concern itself indirectly with sociological art, for Newman on the
contrary we are trying to locate the area where meaning has no
economy and does not have to justify itself by purpose.
Drawing even in the most fragmented of
forms, there is a recognition of our sense of self and our history as
we mark. It is not only the functioning of perception that interests
me but also the activity of sensation.
Avis Newman.
Lefebvre acknowledges that geographical
space created through the body, through routes which were inscribed
by means of simple linear markings. These first markings, paths and
tracks drawn into the landscape would become the pores through which
without colliding would provide/produce the establishment of places,
localities made special for one reason or another.
In looking at drawing, one may see not
the thing itself but its possibility, its suggestion and its
uncertainty as to what stage it is in its becoming.
What ever the intent, the drawing is
always the artist's response to whatever, draws-the-artist's
attention. To what Cezanne called the 'little sensations' and for the
artist it is a question of how to rescue sensation from its
subordination by representation.
Drawing as experience and
experimentation, demands that the artist be susceptible to and
capable of taking advantage of the uncoupling of everyday space-time
and with it the expansion of the field of consciousness, to engage in
what Klee once described as 'polyphonic attention.'
In the end drawing is rooted in the
dematerialized space of the image, indexical or imaginative,
privileging more the world of shadows than the world of appearances.
The drawing surface is confirming the possibility and use of a
language that albeit in a fragile way, leaves open an interstitial
passage through which the imaginary may realize itself as an image.
Drawing manifests the very nature of a
feeling-thinking-consciousness-of-the-body.
Drawing makes visible the synthesis,
its interval and split between subject and object, between the
desiring subject and the subject of language.
To draw is to protect the intensity of
thought-feeling, and as such the drawing is always a formulation or
elaboration of the thought itself at the very moment/instant in which
it translates itself, makes itself 'visible' as an image.
The material of art, any material is
that which imprisons and makes definitive desire. It is the way the
material is manifested in revealing what defines the split between
the imaginary and the subject. Drawing becomes the apparatus, the
mechanism that tends to give order to the only dimension in which
desire moves, space and time.
Drawing seeks always to reveal the
gesture of the artist through the space of the surface, to capture
the moment that precedes the birth of the sign. The external space
becomes a specular surface, a field that captures and organizes the
image. The image always corresponds/is a correspondence to a pulsion
of desire, a vector that puts it in communion with tactile and visual
sensations.
Drawing makes reversible the movement
of desire/attention suspending it in a place understood as a place of
projections and reversibility. For John Berger, the drawing shows the
paths taken.
Drawing/Spatial Practice.
UCA Canterbury.
Artist Statement. 2009
Zones/Studios/Sites of Inquiry/Concern.
Within my practice drawing is used to
form sites which contain visual information, evidence of temporal
activities and traces of actual objects. These territories within
other territories create flows formed from their permeable boundaries
gathered from material, relations and differences. My drawings are
about and are inside this temporality of site.
Thresholds.
Brion Cemetery by Carlo Scarpa.
Ina Macaione.
Antonello da Messina.
St. Jerome in His Study, 1474-75.
National Gallery, London.
The only figurative work in the world
in which entering and crossing coincide in a unique concept of
physical space, defining the specificity of the architecture by
transforming the limits of solid materials into the construction of a
liminal space which can be crossed by passing through thresholds.
The concept of architecture is the
crossing of a space that becomes physically visible when one enters
the space itself. In Brion Cemetery by Carlo Scarpa, architecture
thus becomes an art form which helps us to overcome the absence of
life by expanding the horizon of our minds and hearts, freeing us
from our bodies, giving dignity to the void left by the loss of
living presences and emotional ties.
The spatial dimension of this small
building is a metaphor for the mental workings of meditation. The
pavilion is the place where we can enter the mind's empty space,
where we can get away from all our passing concerns.
Small cylinders of different heights
and sizes, barely visible below the surface of the water. A small,
inaccessible maze. A maze through the water, a maze through time, a
maze of symbols and enigmas. Here, as in the poetry of Jorge Luis
Borges, the maze is an allegory for the complexity of the world,
which cannot be understood merely through reason. The maze itself was
created to confuse those who rely on reason alone. Its winding paths
lead us to a reality that lies far beyond that existential normality
which hides deeper complications.
In 'The Garden of Forking Paths' Borges
describes the possible outcomes of an event, each of which leads to a
further multiplication of consequences, in a continuous 'branching
off' of potential futures.
The Stage of Drawing.
Gesture and Act.
Catherine de Zegher.
Architectural Body.
Arie Graafland, Michael Speaks.
Drawings and Ceramic Models.
Making-Living-Environs
Hannsjorg Voth 1973-2003.
City of Orion.
Boat of Stone.
Hassi Romi.
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