Making Processual Paths Of Volatility : Ceramics/Sinopis Red/Palette from Antiquity.

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Early palette from Antiquity:

White, yellow ochre, sinopis red (earth red), black (bluish).

Michael Grimshaw, Winchester School of Art. 2007

Intricate Local Behaviours : Conversations/Correspondences between unrelated entities.

Lines. (Making/Thinking/Matter/Material)

Tim Ingold

What Is Art ?

Joseph Beuys.

I find it interesting that you say that this stool or box speaks to you, whereas this floor, as you said, doesn't. A similar thing happens to me, and I ask myself: What is this due to, the fact that it doesn't speak to me, or only a little? It makes me think that these ready-made things, this precision, actually compels me to behave in a particular way, not just these things here, but also a certain window, or a specific type of architecture that is very fixed very straight, that derives from something very thought out; this compels me to live or behave in a similar way,

Volker Harlan.

Beuys: Yes, right, exactly; in other words, this lives (points to the box) while the other (points to the floor) is dead. The first doesn't force itself on you, the other continually forces itself on you.

Thinking Processual.

Resistance/Viability : Mapping/Living

Meaning that it is not so much a matter of crossing boundaries, but rather a matter of open-endedness. A place where boundaries have become diluted and single figures are already coupled or heterogeneous figures (in the case of Bacon, man-animal).

Kovar/Deleuze.

The Architecture of Abjection.

The Logic of Sensation.

Working From Simple Things/Gestures/Materials.

https://www.flickr.com/photos/russellmoreton/

Theoretical Movements in Clay+Ceramics.

The Circular/Elliptical Matter/Mattering of Things.

Gathering/Pouring/Manifolds : Forms of Thinking. 

Events.

Arte Povera.

The Way, without demarcation, rather a way of viability by which the continuum of life is renewed.

The Philosophy of Living.

Francois Jullien.

The Quiet Mind :  Silently without resistance

(Sound of barking) Do you listen to that dog? Wait, wait. Silently? Listen to it completely silently, which means without any resistance, without any irritation, just listen to it. When you listen quietly there is no resistance, there is no irritation, you do not identify yourself with the dog and the barking of it, your mind is quiet.

Meditation

The meaning of that word is to measure, basically (for oneself).

https://www.krishnamurti.org/transcript/in-meditation-there-is-no-direction/#:~:text=One%20must%20be%20wholly%20and,is%20vain,%20full%20of%20confidence

Human Bodies/Spatial Bodies.

Kounellis/Opera, interventions, unscripted by workmen, bodies on trolleys. 

Penone, wooden frame, human body, empty frame installed in a stream.

Beuys, accumulator, clay balls, wires, simple sturdy wooden table.

Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits.

The Enabling Constraint. 

Erin Manning.

Visual Art Practice. 2024

Whether abject(ion) issues forth from a human body, a space or any other entity, it sets the whole world in motion and instigates a chain of exchanges.

In 'becoming' for Deleuze and Guattari we form a multiplicitous assemblage where individual elements are blurred, and together begin to act as a kind of whole. But a whole that is not fixed, as the assemblage also has a side facing a BwO which is continually dismantling the organism.

Through abject(ion) the smells, textures and physical forms of our body space and this excrement leaking out, become fused together. We become part of the space: the space becomes a part of us.

Abject(ion) re-configure the body and space physically through the transference of matter.

Architecture Without Organs (BwO)

The BwO is in fact produced as a whole, but a whole alongside the parts. A whole that does not unify or totalize them. But that is added to them like a new, really distinct part.

Deleuze and Guattari.

BwO plays a role in the notion of an open subjectivity. Kovar asks, are or how are abject(ion) and BwO related, and how might this relation be played out in architecture?

The BwO for Deleuze and Guattari is a concept that uses the virtual dimensions of the body as a set of potentialities that may be activated through becoming, importantly it is a body, understood as process that is continually constructing and deconstructing connections. 

To speak of process and the continual construction and deconstruction of connections is to implicate numerous entities between which these connections are made and therefore speak of heterogeneity.

Open Subjectivities.

Unmaking The Human Body/Subject.

Blurring the boundaries between interior and exterior.

Translucent assemblages are all that are left from the transparency/clarity of the morning that will soon dissipate.

Reliquaries of Light and Darkness.

Bodies, spatial and human in transitional movements. 

The Sacred and The Medical Body.

The Hospital Room.

The Killing of a Sacred Deer.

Cronos.

 

Clay/Working/Learning/Making.

Working in Clay and Fire /Mapping Resistance and Viability.

City of Orion, ceramic objects in the landscape.

Raveningham Sculpture Trail. 2024

Ceramic works investigating the relationship of water to the human body and the architectural body of interior spaces.

Water at The Hungate, Norwich. 2023

Exhibitions with Anglian Potters.

Ferini Gallery, Lowestoft. 5

Undercroft, Norwich. 4

All Saints, Cambridge. 2

2019-2024.

Revisited Contemporary Ceramics

Things of Beauty Growing.

The Fitzwilliam Museum. 2018

Anglian Potters. 2018

Teaching Sessions, throwing/handbuilding.

Brockwood Park School. 2012-2015

Speculative Clay Workshop/Walking in the Landscape.

Teaching Academy, Brockwood Park School. 2011

Raku Firings.

St Ninian's Cave.

Scotland. 2013

Bodyscapes, raw clay installations.

Chapel Arts Studios, Andover. 2010

The Yard, Winchester. 2009 

Contemporary Craft Ceramics. 2004-2006 

Life Drawing/Sculpture, figurative/abstractions in clay. 1996-2002

Dexterity Crafts.

Potter throwing domestic pottery.

Walton on the Hill. 1985

Ceramics, architecturally influenced vessels in slab and thrown processes.

Epsom College of Art and Design. 1981-1984

Industrial Pottery experience.

Grayshott Pottery. 1979-1981

Studio Pottery experience. 

The Hop Kiln Pottery. 1978

A Level Ceramics.

Farnham Sixth Form. 1976-1978

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Encountering Material Matter : Making/simple undertakings of attending to the material.

Outpost 200924

On the simple undertaking of attending to the material.

russellmoreton.com

Oceanic Metaphors~An Interpenetrated Meshwork.

For Mauss, real-life human beings inhabit a fluid reality in which nothing is ever the same from one moment to the next and in which nothing ever repeats. In this oceanic world every being has to find a place for itself by sending out tendrils which can bind it to others.

Thus hanging on to one another beings strive to resist the current that would otherwise sweep them asunder. Things do not aggregate and they do not fuse. They do however interpenetrate their many tendrils and tentacles interweave to form a boundless and ever extending meshwork.

 On The Gift~Octopuses and Anemones.

The Life of Lines.

Tim Ingold

Material Matters.

Architecture and Material Practice.

Katie Lloyd Thomas.

Sensory Corporeality

Making Bodies~Experiential Clay : An emotional rootedness in our primal self, Beuys.

Intrinsic to how we gain consciousness of our world.

Abject(ion) Explorations, something instinctive, innately human, visceral, an organ exploring a strange situation.

Joseph Beuys.

Clay as process : Moving~Eruptive~Living~Experiential

Beuys understood that creativity is central to human existence. Making-works-with-matter that makes the mind~body~move through change and transformation as well as emotional rootedness in a primal self.

Tactile experience adheres to the surface of our body, we cannot unfold it before us, and it never quiet becomes an object, correspondingly as the subject of touch. I cannot flatter myself that I am everywhere and nowhere. I cannot forget in this case that it is through my body that I go in the world and tactile experience occurs 'ahead of me' and is not centred in me.

Maurice Merleau Ponty.

Phenomenology of Perception. 1945

The practice of architecture and the discourses surrounding it are, as so many ways of understanding and constructing the world, structured around a distinction between form and matter where the formal (and conceptual) is valued over the material.

On the encounter of a woodworker making a table.

Mattering forms that can have a future potential to affect and be affected, and rise out of its individual past formed by cultural actions for a preconceived particular purpose. The material, at any particular point in time, is brought into existence through a developing chain of events, both 'natural' and cultural, and has the potential for a myriad of future interactions and transformations. Massumi suggests that what is important in this encounter is not the distinction between form and matter for:

There is substance on both sides: wood; woodworking body and tools. And there is form on both sides: both raw material and object produced have determinate forms, as do the body and tools. The encounter is between two substance/form complexes, one of which overpowers the other.

Brian Massumi.

Massumi provides us with an (Deleuzian materialist) alternative to the hylomorphic account of the architectural material, which suggests that material is itself active and does not distinguish between the physical forces (the plane smoothing it) and immaterial forces (the building standard that determined its fire treatment in a certain way) that produce it.

For Massumi, distinctions between real and ideal, between digital and manual, between formal and material – all disintegrate.

The World is Full of Holes

There is always some kind of truthy interpretation space in which your thoughts and ideas and actions are taking place, and the thing to remember about this space is that (1) it's not optional and (2) it's not totally sealed off, it's perforated. What does that mean? First of all, it means that not only the mental but also the physical (and psychic and social) ways we 'interpret' things are in that space.

Being Ecological, Timothy Morton. 

Encountering/Thinking with and in Clay.

Developing an indifference to be able appreciate/coexisting with ambiguity.

After construction, of joining and relating matter into a spatial form of inquiry.

Marking/Inhabitation of the ceramic structure through earthen slips and natural occurring oxides.

Drawing in the Hungate.

Wellbeing.

Caryatid 

Blind Drawings in the Rotunda/WSA. 

Drawing/Feeling through touch and sound.

Michael Grimshaw. 2003.

Creating a meaningful relation to phenomena/mattering.

Three types of metronome speeds,

Unknown plastic figure/animal,

Hand clapping,

Another persons heartbeat,

Blind paper tags,

Cotton Wool,

Toy bear,

Caryatids : Drawings in wax, charcoal and Indian Ink.

Becoming Propositional/The Human Neuron.: Each Proposition/Activates Contrast/The Dialectic of Duration.

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The Dialectic Of Duration, Gaston Bachelard. 1950

Bachelard argues for a discontinuous time, made of instants out of which we construct new durations and deconstruct old ossified ones. A time experienced as durations that addresses the nature of time in its irreducibly fractured and interrupted state, and within which Bachelard urges us to launch projects and lead lives of creative rhythms. 

Becoming Propositional.

Developing in the Incipiency of Relations/Ecologies between Things/Phenomena.

One has to realize what restraint it needs to express oneself with such brevity. Every glance can be expanded into a poem, every sigh into a novel. But to express a novel in a single gesture, joy in a single breath: such concentration can only be found where self-pity is lacking in equal measure. These pieces can only be understood by those who believe that sound can say things which can only be expressed through sound.

Arnold Schoenberg, from the introduction to the Six Bagatellies for string quartet, Opus 9, by Anton Webern, a Viennese friend and contemporary of Egon Schiele's.

Rachel's, Music for Egon Schiele. 1996.  

Individuations Dance/Relationscapes

There is no time to return to the line, the line must draw the movement, the gesture itself must become line. One pass with the paint and that's all, move the canvas. The result a vastness of localized movement, a movement across that is at once microscopic and macroscopic.

Erin Manning.

The Swimming Pool Drawings

Michael Grimshaw, Winchester School of Art.

We land into the focus of an awareness that becomes us.

Whitehead. 1929.

The architecting of spacetimes of experience co emergent with bodies in the making.

Choreographic Propositions/Mobile Architectures, Erin Manning.

The choreographic proposition  serves not to delineate positions or forms from one another in a normative practice of movement notation, but to create a diagram that captures in a fleeting moment the qualities of movement expressibility, such that their force of form can be felt.

Deleuze defines the diagram via Francis Bacon as the operative set of asignifying and non-representative lines and zones, line-strokes and colour patches, whose function is to be suggestive. He  speaks of the diagram capable of unlocking areas of sensation, suggesting that the diagram is chaos, catastrophe, but also a germ of order or rhythm.  

https://www.flickr.com/photos/russellmoreton/

In Closing.

OURSELVES

Here, on the edge of what we know, in contact with the ocean of the unknown, shines the mystery and the beauty of the world. And it's breathtaking.

I believe that our species will not last long. It does not seem to be made of the stuff that has allowed  the turtle, for example, to continue to exist more or less unchanged for hundreds of millions of years; for hundreds of times longer, that is, than we have been in existence. We belong to a short lived genus of species. All of our cousins are already extinct. What's more, we do damage. The brutal climate and environmental changes which we have triggered are unlikely to spare us.

For the Earth they may turn out to be a small irrelevant blip, but I do not think we will outlast them unscathed – especially since public and political opinion prefers to ignore the dangers which we are running, hiding our heads in the sand. We are perhaps the only species on Earth to be conscious of the inevitability of our individual mortality. I fear that soon we shall also have to become the only species that will knowingly watch the coming of its own collective demise, or at least the demise of its civilization.

Carlo Rovelli. 2016.

It could be said that the most fantastic material is the human neuron. It dominates most materials around it, it is a prime agent of change and determines many forms on the planet.

For Cragg, ninety-nine percent of those forms are solely utilitarian, driven by survival and economics. The result is an impoverished material world. Utilitarianism censors the possibilities of form, this not only applies to designed objects and architecture the world over, it also applies to forms of education and society in general.

Our super-thinking material the human neuron with that prime position in the hierarchy of material, has a responsibility for all other material within its grasp whether mineral, plant or animal. 

Tony Cragg, Sculptures and Drawings. 2011.

Each Proposition

Activates Contrast.

Architectures based on a full recognition of the embodied human condition and of the multitude of instinctual reactions hidden in the human unconscious. A piece of furniture sets up a proposition for a event, the encounter with itself and the body of the user.

Alvar Aalto's buildings are not based on a single dominant concept or gestalt; rather they are sensory agglomerations. They sometimes even appear clumsy and unresolved as drawings, but they are conceived to be appreciated in their actual physical and spatial encounter, 'in the flesh' of the lived world, not as constructions of idealised vision.

Juhani Pallasmaa, Alvar Aalto.

Choreography As Propositional/Relations/Generative Practice.

Choreography starts from any point, it cleaves an occasion activating its relational potential. It makes time, beginning its process anew, always from the middle of the event. Choreography is thus a proposition to the event. Choreography asks/inquires into the event, how its ecology might best generate and organize the force of movement-moving.

William Forsythe, Erin Manning.

Choreography, a self generating act proposed into a movement/potential motion/event of a milieu/gathering.

Making/generating/organizing as a proposition/task/technique to the material.

Developing in the incipiency of a choreography creative ecologies of the force of movement/making/movement. 

Tony Cragg/In and Out of Material.

Carlo Rovelli/Seven Brief Lessons On Physics.

Intertwining Thinking and Making.

Architecture and the Senses.

Juhani Pallasmaa/The Eyes Of The Skin.

Bayfield Hall.

Making and deploying theoretical objects/installations/workshops.

Exploratory Clay/Ceramic based inquiry.

Creative entanglements in a world of/with materials/others.

CLAY.

Ceramic Components/Composite Sculptures.

Templates/Painted Cardboard. 

Extruded/Sledged/Moulded. 

Julian Stair/Art, Death and the Afterlife.

Sainsbury Centre.

As proposition to the event, choreography does so not by abstracting itself from the event but always as part of the event, it can never be separated out from its coming-into-itself-as-event. 

Choreography/unfolding-as-event is the fielding of a multiplying ecology in a co;constitutive environment, it develops in the incipiency of the in-between, spurred on by tendencies that waver between  the rekindling of habit and the tweaking of a contrast that beckons the new. 

For an event to tune itself choreographically many techniques are necessary. Techniques can be generated as tasks, or they can be self generated. 

Chorepgraphy as a generative practice must ask, how the tasks become propositional, how the coalescing ecology becomes more than the enabling constraints that set it into motion.

Erin Manning.

On The Body of Drawing/Demarcations

Localized/Relational/Choreographic.

Transparency/Translucency/Erasure 

  

What Remains/Of The Other Sister

Dead on Arrival.

The life drawing separated from its corporeal event is now just a representation marooned in its media.

The Life Room, a space where an individuals mental reality meets cultural narratives.

Drawing : Layers of relationships, intimacy and circumstance

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Speculative Haptic Experimentation.

Oxyrhynchus.

Jenny Saville.

John Elderfield. 2015

Several new works are inspired by the ancient Egyptian rubbish dump at Oxyrhynchus, one of the most important archaeological sites ever discovered. Heaps of discarded documents and literature; fragments incredibly preserved are now invaluable. Greek texts as Euclid's Elements and the poems of Sappho are among the excavated papyri.

Saville alludes to this history through a deep layering of paired subjects, faces, torsos, and limbs overlap with shadows and reflections creating palimpsests of living bodies and ancestral apparitions. Silhouettes drawn in charcoal through the surfaces of oil paint underscore the motion of the central embracing figures, while evoking the timeless process of sketching.

Time, figures, and carnality is further compressed by Saville's adaptation of various historical approaches to portraiture. From De Kooning's fluid abstractions of the female figure, to the almost combined couples of Picasso's late paintings and Japanese Shunga prints.

These intermediate studies echo the shifting status of the unearthed papers, once discarded now treasured. The depth and density of things now excavated from their surroundings are now brought into thinner layers of relationships, intimacy and circumstance. Saville's own figures merge ethereally with settings that have been loosely appropriated from photographs and evoke the backdrops of Renaissance Paintings.

 

The Human Clay.

The School of London

On Drawing, John Berger.

Michael Grimshaw.

40 Drawings 1968-1995

Drawing is the architecture of the spirit.

The drawings in this exhibition track a progression, both chronologically and through shifts of language. Inevitably there are tangents and seductions.

The more I draw the more I discover that drawing is really an echo of our being. Its sound, its voice is beyond ideas and runs all reason ragged.

I was interested in drawing 'ordinariness' because nothing seemed more interesting or as magical. This feeling is still no less dull than it was then.

The dense, mysterious spaces and shapes of her paisley dress terrified me and her shifting, speaking head was so impossible to understand as I sat in front of her on the carpet in an urgent and perplexed state. I struggled to make sense of what I saw and felt. These drawings often drew laughter from my mother and father but, in spite of their gentle mockery, I sensed that somewhere buried ion this activity of drawing there lay a wondrous elemental power.

When I look and see an ink drawing of Tobias by Rembrandt, a stubbed pencil remark of Martha lying in the bath by Pierre Bonnard or, say, a cigarette smoking hand by Philip Guston, then clearly, beyond ideas, it is the vision, the coming closer, that really matters.

Today this mysterious quality remains as primal and as tantalising as it did then. My own conceit, the facade and crude consciousness of ideas cannot undo the profound igniting and unconscious power of drawing.

Acts of Inscription : Drawing into Affirmations from a Primal Site.

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Drawing/Poetry/Images.

Sensing/Drawing Energy.

Water/Clay/Fire.

The mental energy of engagement in drawing and how 'markers' of an action translate the murmurings of the mind.

Empirical evidence carries emotional connections, through a synthesis/reciprocity of reverberations of matter and its mental movement.

Gaston Bachelard illustrates how images bridge the sensate perceived world and the interior affective life.

Bachelard's seminal philosophical and phenomenological interests are always connected to matter. To what he calls the psychology of the familiar, the rapprochement with real objects, and the friendship of things. 

Matter sparks inner images which in turn imbue matter with memory and values. He creates an ever renewing reciprocity of the reverberations between inner and outer qualities, which obliterates any absolute separation between objective and subjective experience, a perspective recognized by modern physics. Bachelard explodes the potential imprisoned in an image. It is the quality of the 'livingness' of the flame that triggers Bachelard's musings of correspondences.

Joanne H. Stroud.

 

The Flame of a Candle.

Student Work.

Charcoal on paper.

Drawing Course, Michael Grimshaw. 

Winchester School of Art. 2003.

 

Drawing The Line.

Affirmations from a Primal Site.

Corollaries between being and becoming.

The Mirrored Self.

Coded Imprints.

Invented Bodies.

Chronicling Space.

The Moment/Instants of Engagement.

The conditions of making where the image was not a priori to its making.

The Simultaneity of Effects.

A 'Graphism' In A Corporeal Field.

I am concerned with the movement and process of articulation, of marking and sensing of things across the works surface/duration. I would definitely identify drawing with the infinite space of sensation, both the sensations of the body and the sensations of the mind.

So what is it that one actually makes in such circumstances?

For Newman, it seems to me that the thing made becomes like a temporal spatial/sensate matrix, composed of a continuous repetition and elaboration of individual, but similar inscriptions, and that the series of thoughts and judgements connected to those separate acts, are only subsequently reflected on the image. Marking  the image, these marks suggest an endless repetition and while also existing as a series of relations. The marks suggest the thing could fall apart at any moment. 

Acts Of Inscription.

Drawing on Bodily Impulses.

Images from the mind.

The Psychic Gaps In Drawing.

Primary Forces : Marks of no particular visibility.

Drawing on the sensation of seeing and sensing that always seems to register the endless repetition of remaking, as such drawing constitutes the space of anxieties. 

I understand the page to be a mobile space in the physical presence of its weightless surface and as such it is a place of time and movement. The evokes the consciousness of that limitless space that is embodied in the reality of the white page. Which I would say is a place of fragmentation that has since Modernity been an interminable potentiality, symbolically the dreadful place of boundlessness.

In a drawing the page keeps open the gaps between the marks. It refuses closure and is an active participant in conjunction with the mark. It is part of a negotiated reality of void and presence. The limitlessness white space of the page disperses the notion of its body as substance, its body is phantasmic and intangible space/surface.

The notion of the white page as being boundless, also alludes to that space of our inner reality, where the immaterial world of dreams/imagination and the mental impressions that run through us and evaporate into other thoughts. They dissipate in the fragmented world of our senses and defy any totalizing.

Avis Newman 

Mark Making : On the fascination and the fear of the white page.

For Avis Newman, the paper is an undifferentiated space in that it references the primitive undifferentiated space of the infantile body that has to be claimed by the self.

Drawing is a site in which one enacts differentiation, as soon as a mark or sign is made, it changes the non-ness and establishes a place of action, as soon as that act occurs the paper becomes something, it moves towards, moves with its potentiality into language.

Could we state that one aspect of drawing tends to be more linked to the bodily impulse and the other to the mind?

Catherine de Zegher

The image that Antonin Artaud conjures when he says 'There is a mind in the flesh, a mind as quick as lightning,' situates it well for me. I have the impression that the act of inscribing opens a fissure through which some staged psychic event, operations of consciousness, take existence. They are primary forces with no particular visibility.

Avis Newman.

Marks both coded and uncoded originate in an urge from a space of uncertainty to participate in language. The potentiality of even a blank page is in itself the unbounded space of language. Drawing is both a system and a method of a sensing inquiry. To draw is often a paradoxical act in which two extremes of practice can exist in the same space.

When we come to look at another's markings in the world. We see an extraordinary event. We see attempts at articulating the unbounded space that momentarily binds that aspect of us that is eternally fragmented. Essentially in the very act of drawing we have a wish to externalize thought and communicate existence.

Avis Newman.

From Life : Extending The Speculative Drawing Process.

Bodily Boundaries : Transactions between body-intimate and the social body image.

Organism-Person-Environment.

Body-Fragmented-Memory-Architecture.

Propulsions/Propositions into and through the visual.

In drawing some marks escape their visibility, because there is no dynamism to underpin the possibility of internal cohesion. There is no pressure from the outside inwards;  in drawing, it is all pressure from the inside outwards.

Conduits of perpetual potentiality.

The articulation of marking thoughts, which by definition are open-ended, in a state of flux in which things can pass through and are suggestive of a perpetual potentiality.

Some marks are seeing, some are feeling, some are for thinking, some are from memory, others from a blindness when seeing.

Gestures and Acts.

Conversation/Correspondences.

Drawing is thus not to do with perceptual illusionism, but with the infinite space as mental possibility. Is the drawing itself, the ground, a space of transience?

In drawing, the space is open-ended and unframed, while the marks are articulated over time and in time. Can you elaborate on this different notion of boundary?

Catherine de Zegher.

The physical structure of a drawing is always conditional to the boundary we project onto the work. When one looks for example at the drawing by John Latham, One-Second Drawing (17' ' 2002) (Time Signature 5: 1) the work itself defies any possibility of framing because the action is embedded in the pure sensation of time. We are left with only the effect. So the idea of framing as a way of 'confirming' the space, this is not part of drawing's language. The condition of boundaries is that they are dissolvable.

Avis Newman.

In Drawing : One is not so much looking at the thing itself, as at its suggestion, at the possibility of a formation that has yet to occur. In that sense, drawing is both fugitive and embodies a lack, it is implying qualities of incompleteness and that which conjures to be only a trace of a thing.

Drawing/Corresponding to a mobile field of properties that only during the process of marking is a cohesion found, a somewhat precarious frame constructed, almost as a byproduct of the articulation of marking thoughts.

Drawings are beyond the conceptual anxiety found in connection to the frame of painting.

In drawing the surface maintains its separate existence. There is an ambivalence of status between the mark and its support, consequently the lack of integration has always been more complex, corresponding as it does to a mobile field of properties. 

Drawing as a site, a meditation of a self regarding consciousness. Where consciousness is understood/expressed as a process that 'figures/thinks' a state of existence. Drawing and the drawn become a site of inquiry, response and invention, and in that sensing space it becomes a philosophical activity.

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. The fractured, open-ended, and incomplete that are inherent characteristics of drawing practice seem very pertinent as materializations of our present experience of the world.

It is that space of anxiety and fragmentation in contemporary practice that offers a potential of infinite diversity. Drawing is a record of the working of thought, that we see embedded in the drawn.

Conversation, Avis Newman. Catherine de Zegher.

The Stage Of Drawing : Gesture And Act.