Spatiality/Body Politics : Drawing Geographies

Figure/Foreground : Drawing/Sensing

In drawing the moments of choice have been kept visible.
John Berger, Berger On Drawing.

A drawing is essentially a private work, related only to the artists own needs.
The Drawn Line-A Recession-A Past Statement Brought Forward

The Body of Drawing
Drawings by Sculptors
South Bank

Drawing registers the transforming effects of the imagination and the memory.
Drawings are images of flux; flux both imaginative and physical.

Drawing is a verb.
There is no way to make a drawing-there is only drawing.
Richard Serra

The Drawing Book
Tania Kovats
Drawing is something where you have  a really direct-immediate relationship with the material. You make a mark, and then you make another mark in relation to that mark.
Kiki Smith
The Body
Rodin's lines dont just represent carnality; they are themselves carnal, invasive, sexy. Uninterrupted by the space between the material and the body; the line made by the drawing hand stands in for other haptic things. The body is where drawing begins and where it ends.

Looking at images does not lead us to the truth, it leads us into temptation.
Marlene Dumas

Sexuality and Space
Beatrice Colomina

Drawing and Random Interference
From Chaos To Order And Back Again
Sally O'Reilly

Quantum Chance
Janna Levin

AFTERIMAGE : Drawing Through Process
Cornelia H. Butler

Fiona Banner
Life Drawing
Performance Nude

Marking Time
Examining Life Drawing as Methexis
Margaret Mayhew



Rather than regarding life-drawing as an event of realism, it may be more productive to
explore it as an assemblage of events, a field of practices, or as a cluster of performances.

Communicative Space Of Drawing : Radical pedagogy transduces rather than transmits.

 Outpost 081223

The Communicative Space Of Drawing.

Braking down research.

Radical pedagogy transduces rather than transmits.

Re-combinent poetics/praxis.

The Architectural Scriptorium

The Photographic Darkroom.

The Observatory.

Drawing, defined variously as an extruding, a gathering and/or a pulling closer.

The paradoxical nature of drawing is that it is simultaneously a form of recording and invention, somewhere situated between unconstrained gestures and the reiteration of a point of view.

To re-examine the significance of the human body through drawing performatively and architecture.

To understand how buildings affect individuals and communities emotionally, how they provide people with a sense of joy-identity-and place.

Across The Space Of A Page.

Drawing Propositions/Propulsions from the Body.  

Landing Sites: Organism/Person/Environment

The World Opens Up In Front Of Us And Closes Behind.

The experience of our bodies, of what we touch and smell, of how well we are 'centred' is not locked into the immediate present, but can be recollected through time and memory.

Collisions with Bounded Spaces.

The Haptic and Geometric Grid/Centripetal and Centrifugal Radials. 

Haptic choreographies/circulations that create collisions with environments and bodies.

Body 'fit' and movement is affected by the haptic sense and by the tactile qualities of the surface and edges we encounter.

Patterns are composed mostly of paths and places, but it is the system by which they are related, that allows us to make sense of a bounded space.

Place and its choreography of collision that facilitate the transaction between body, memory and architecture, allowing us to dwell in them in the fullest sense.

All architecture in its beginnings was derived from a body-centred sense of space and place. The power of the home, comes from its being the one piece of the world around us which still speaks directly of our bodies as the centre and the measure of that world.

Buildings can encourage a choreography of dynamic relationships among the persons moving within their domains. 

Emily had been playing house in a nook right in the bow of a boat and tiring of it, she was walking rather aimlessly aft – when it suddenly flashed into her mind, that she was SHE.

Gaston Bachelard.

Poetics of Space.

Emily was neither particularly conscious of, nor looking at, the centre from which she was departing – nor the centre towards which she as walking. But she was able to detect her identity in the bodily act of moving from one centre to another, she recognized that SHE had been withdrawn and was now emerging.

How can the personal world of the body provide an alternative to excessive and disorienting events in the environment?

To diminish the importance of the body's internal values is to diminish our opportunity to make responses that remind us of our personal identity.

Memories at the Centre.

Body, Memory, and Architecture.

Bloomer/Moore.

John Latham.

Drawing/Unbounded Sensations of Time.

The Stage Of Drawing.

Gesture and Act.

Conversation : Avis Newman/Catherine de Zegher.

CdZ: What happens in the space between the gesture moving away from the body, towards everything that is outside of the self, and its landing as a trace on the page?

AN: I was thinking on the way the transmission of thought can depend on the hand and eye, and how this relates to the psychic space in which the mark exists as a potentiality. The effort of the mental and physical act of projection out from the body, away from the body, firstly into the air  -  an act that pitches the hand across the space of the page to site a mark where one intends – is quite a precise act : the most thoughtful and deliberate of acts, which I would speculate harbors a necessary thoughtlessness, in the sense that the certainty of coordinated actions is always in some way provisional and as such relies on the vigilant cooperation between eye and hand.

CdZ: Drawing may also be a recovery of the gesture that allows a discovery for the eye.

AN: To retrieve the gesture in a drawing is to translate the mark back into the action of the hand. It is very pleasurable to recover the gesture in that way and in so doing to follow the action of making. I think that experience in a drawing is very precise.

CdZ: Because the eye manages to discern what has become a trace on paper from a gesture in the air?

AN: Yes, the mind's eye. Perception becomes an act of reconstruction that moves unobtrusively between interior and exterior. I would make an analogy here between how we experience unconscious emotions in the repetition and accumulation of marks (irrespective of what is being drawn) and the intonation, hesitations, and inflections of speech, all of which hold a complexity of messages and can be at odds with what appears to be said, but which nonetheless determine meaning. It seems to me that this occurs independent of sight, as that which is generated by the mind and mediated by perception.

CdZ: In drawing, the space is open-ended and unframed, while the marks are articulated over time and in time.

AN: My concern in making images relates more closely to the conceptual space of drawing, which is less circumscribed  than painting. In particular, the manner in which the boundary or edge comes to define the work is of a completely different order in drawing. In fact, the idea of inside  and outside does not occur in the same way. The marks define a position across the surface and are not registered in relation to limits. As a result the often ambiguous nature of borders can leave a vague uncertainty as to the stability of the image.

CdZ: Can you elaborate on this different notion of boundary?

AN: The natural inclination of mark-making is a relational organisation of individual inscriptive acts, which is not an expression of a unitary world. The frame as the window on the world, which traditionally internalizes the picture. This view creates an illusion  of the unique experience of looking, in the sense that there is coherence to the image. There is not that illusory consistency in drawing, as the space and image are essentially open-ended and speculative. The unframed interferes with any anticipation we might have of ordered limits or completion, and suggests the possibility that something is missing and will always elude our attention, because it cannot be framed. It is the uncertainty of the edge and how it meets the real that I find fascinating.

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

AN: There is no pressure from the outside inwards; in drawing, it bis all pressure from the inside outwards. And the idea of boundary then becomes problematic, our boundary as we project it onto the work. The physical structure of a drawing is always conditional, and 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.

Body, Memory, and Architecture.

Sense/Sensing/Feeling/Memory.

Hapticity and The Body of Memory/Experience.

Haptic drawings are composed of piece by piece responses to the situation at hand, rather than being based on any kind of visual or conceptual grand design.

The stone and wood of a house itself are embodied in these memorable centreplace's and even they belong to the body of memory, something that maybe regarded as possessing uniquely haptic properties.

The heat  from a fire, the rushing water in the fountain, and the smooth tactile objects on the mantle deliver feelings of touch and even permanence. Here in this interior space the lifetime memories of the person collaborate with the timelessness of the world outside.

Exercises on the Haptic Experience of Space.

Drawing Choreographies : Hapticity/Mark-making/The Body.

All architecture functions as a potential stimulus for movement, real or imagined. A building is an incitement to action, a stage for movement and interaction as such it is one partner in a dialogue with the body. 

Egon Schiele/Jenny Saville, drawings rendering an insistent corporeality.

Drawing marks that can be possessed, felt, touched and known, haptic drawings are memories of human experience, seeing, feeling, experiencing and exploring corporeality.

Post Studio Practices : Mattering in Situated Places.

 Studio Apparatus/Scriptorium

Matter in Space : Passages in Sculpture.

The Sensing Of Spatial Agency.

Working Notes 2018/19

Curatorial Architectures/Assemblages

Speculative Spatial/Curatorial; Practices in Fine Art and Architectures

The Studio is no longer a retreat but it now integrates.

It is all exterior.

Ways of Curating, Hans Ulrich Obrist

Constructing active research material that becomes transactive through interventions and installations of display.

Blurring art and the everyday rituals of creative enterprise and survival.

Seeking to create innovative and immersive exhibition formats/situations that seek to engage a discursive and informed audience.

Building Relationscapes

Movement, Art, Philosophy 

Sensorium

Embodied Experience

Technologies and Contemporary Art 

Erin Manning

Caroline A, Jones

Playing with INTERTEXTUALITY

Setting the Stage MAKE SPACE

Immersive

Alienated

Interrogative

Residue

Resistant

Adaptive

Interactive Workshop

Exhibition

Presentation

Open Texts

RESPONSIVE ENVIRONMENTS

ARCHITECTURE, ART and Design Interiors

URBAN FALLOW (10 Days in the Laundry)

THE CURSE OF THE CONTEMPORARY

OPERATIVE DESIGN

CONDITIONAL DESIGN

ON MAKING SPACE

THE FEELING OF WHAT HAPPENS

BODY, EMOTION and the Making of Consciousness

Art Practices : the chaos of subjectivity and the organization of self

DRAWING, line, shape, volume, light.

Studio Bookcases : Sociological Registers

Installation/Intervention of six research bookcase as diffractive elements in the studio space.

Working Notes : Sensing Space a camp within a creative landscape

WORKING NOTES

IMMATERIAL ARCHITECTURES

MAKING IN THE LANDSCAPE

The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees

Russell Moreton, Speculative Spatial Practices

A reflective building is an echo not a statement.
Haptic devices/seating/dwelling in the landscapes of the mind.
Landscape assemblages and the significance of solitude.
The immensity/intimacy and its immediacy to the imagination.
Immensity is within ourselves  Bachelard 

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.

Supportive Material/Texts/Cyanotype Drawings from found objects

AFFECT

SENSATION / CAUSALITY

LIVING

THINKING

LOOKING

DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY

STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD. (A Land, J Hawkes )

FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

Mediating the experience of LANDSCAPE

SITE / COLLAGE / COMPONENTS working/walking, developing a creative spatial syntax

COLOUR AS CONDUIT / PERCEPTUAL ENVIRONS / CRAFT MEDIA / IMPROVISATION

PIERCED / DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW / SURFACE

EXTRAORDINARY MATERIALS / TECTONICS AND TEXTILES

INDEXICAL / GESTALT / VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING

SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan

ABSENCES / INTERSECTIONS / GRIDS / MESHES / SPRAYS / MOTIFS

ACTUALITY

IMMATERIAL / REPETITION / SINGULARITY

ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments

A child 'concretizes' its existential space.

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard.

Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own.

Heidegger for Architects.

Immaterial Architectures.

SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE, through the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses.

Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming

REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence

TEXTURES / LIMINALITY on the absence of material

STATIC ENVIRON / ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering,

ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION

FUSELAGE

THE CAMP/HUT

represents the true reality of things, Deakin.

The building as nothing more than an exposition of itself.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

MOBILITY

MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.

ABSURDITY

POLEMIC POETRY

CONFLICTING

DYSFUNCTIONAL

TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings)

Stone Worlds

Narrative and Reflexivity in Landscape Archaeology

Architecture and Ritual, how buildings shape society.

Bought to Light

Photography and The Invisible 1840-1900

CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance.

Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces 'between' in which to write ourselves.

CONTEXT AND CONSIDERATIONS / MAKING, EXHIBIT, VIEW

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.

THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR.

THE NETWORK places the artist as a 'like' ITEM within an INTEGRATIVE INVENTORY or 

DATABASE.

Landscape/Sensorium : Journeys in Art, Architecture, and Film.

Sensorium : A Partial Taxonomy, Caroline A. Jones.

Contemporary artists aim to produce specific relations with the technologies they adopt and adapt;
This schematic offers a partial taxonomy.
Caroline A. Jones, Sensorium : Embodied Experience, Technology and Contemporary Art 2006

Immersive
the "cave" paradigm, the virtual helmet, the black-box video, the earphone set

Alienated
taking technology and "making it strange," exaggerating attributes to provoke shock, using technologies to switch senses or induce disorientation

Interrogative
work that repurposes  or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systems

Residual
work that holds on to an earlier technology, repurposes or even fetishizes an abandoned one

Resistant
work that refuses to use marketed technologies for their stated purpose; work that pushes viewers to reject technologies or subvert them

Adaptive
work that takes up technologies and extends or applies them for creative purposes, producing new subjects for the technologies in question

Atlas of Emotion : Journeys in Art, Architecture, and Film.

Giuliani Bruno.

The development of subjectivity as spatiality hinges on architectural construction and is written in the very articulation of architectural discourse.

The Mobile Home

Post Studio Practices, Daniel Buren.

Rem Koolhaas

A space is something that has been made room for . . . A boundary is not that at which something stops, but as the Greeks recognized, the boundary is that which something begins its presencing. That is why the concept is that of horizons, that is, the horizon, the boundary. Space is in essence that which room has been made, that which let into its bounds. That for which room is made is . . . joined, that is, gathered, by virtue of a location, that is by such a thing as a bridge.

Martin Heidegger. 'Building Dwelling Thinking'

Pattern and Chaos/Liminality/Tectonics

Architectural surface for a Library,  raw materials, light, silence and solitude. 

CELL, COURT, DOMAIN FIELDS : Experimental surfaces and actions on layered paper

House (Gendered House) is actually, both a private museum and a public library. It is a laboratory built on the threshold of diverse and interpretive and creative perimeters, binding architecture to the cinematic/everyday drama of statis and movement in the sensing of space.

The Voyage of Modernity, Guiliani Bruno.

Working Towards a Secular Retreat in the Landscape

The 'exigencies' of the situation at hand.

Tim Ingold, MAKING.

 

Spatial Intelligence

New Futures for Architecture

Leon van Schaik

Spatial intelligence builds our mental space.

 

Sensing Spaces

Architecture Reimagined

 

Oak-Framed Buildings

Rupert Newman

 

Heidegger for Architects

Adam Sharr

 

MAKING

ANTHROPOLOGY, ARCHAEOLOGY

ART AND ARCHITECTURE

Tim Ingold

Touching objects, feeling materials

The Cathedral and the Laboratory

 

A Hut of One's Own

Anne Cline

 

Solar Pavilion

Alison and Peter Smithson

Architecture is not made with the brain

The Parallel of Art and Life

Aesthetics about Perception

Poetics about Production

 

HERZOG & DE MEURON

NATURAL HISTORY

My studio is a piece of architecture that is silent.

Speculative Architecture

On The Aesthetics of Herzog & De Meuron

Robert Kudieka

 

The Thinking Hand

Existential and Embodied Wisdom in Architecture

Juhani Pallasmaa

 

The Architecture of Natural Light

Henry Plummer

 

Peter Zumthor

Hortus Conclusus

Serpentine Gallery Pavilion

 

The Potentials of Spaces

The Theory and Practice of Scenography and Performance

Alison Oddey, Christine White

 

See Yourself Sensing

Redefining Human Perception

Madeline Schwartzman

 

Collage and Architecture

Jennifer A. E. Shields

 

COLLAGE

Assembling Contemporary Art

Sally O'Reilly

Construction/Abstraction

Body/Identity

Environments/Geographies