How do you spatialize drawing?
What does a physical movement, a line or an object represent in space?
I’m interested in the pictorialization of space-whether examined through the application of drawing, sound, film or performance. I perform drawing and sculpt sound into a physicality of sorts. My practice explores the physical and metaphorical relationships between sound, performance and drawing, and asks how the performance of drawing per-se affects the body and our experience of the tangible and intangible objects in time and space.
Thoughts on Drawing…
A piece of paper represents a spatialized representation of time – a time container.
The paper contains a space-of-time.
To draw on paper is an act of movement, of gesture and of performance.
My drawing and sonic pieces measure time and materialize movements.
Gestures are spontaneous beats, iconic or metaphoric gestures.
Some gestures are more physical, while others, more conceptual.
Whether choreographed or planned, gestures are spontaneous or intuitive.
My works are fundamentally conceptual yet contain physiological, performative and temporal components. Specifically – the body, vitality, noise, multi-modal objects and the visual residue of the mark making.
The dialogue of minimalism is inherent. The central concerns are materials and processes.
The act of drawing is a deconstruction of the physical and the conceptual. Theories of entropy; emergence and narrative. Neurobiology and psychology.
Physiognomic perception, conceptual metaphors, attunement, philosophy of time and space, phenomenology and multi-modal dynamic objects.
What is consciousness? Physiognomic perception?
The vocabulary of shapes. What do shapes symbolize?
What is the shape of the Internet? We conceptualize the Internet as a metaphor for the human brain. Data reveals the inner workings of the brain and neural networks. We experience the self as a digital being.
The digital turn has changed our understanding of the tangible and non-tangible. Neuroscience, information technology, artificial intelligence, robotics and engineering are at the forefront of contemporary thinking.
Can life and the universe be broken into non-tangible data?
Who do we find when we deconstruct consciousness and ourselves?
The physicality of painting could be considered as belonging to a pre-internet world.
But is the value of drawing more important during the digital age?
There seems to be nostalgia for the material art object, though our world is already polluted with man-made objects.
The immediacy of drawing exposes the “present.”
I translate speech, sound, beats, poetry and silence—-empty space—-into drawing. Animal sounds, shamanic rituals, tongues or broken trances.
My soundclashes are a collage of sounds that I collect or gather, like objects or materials. I use sonic objects to activate new thinking spaces.
Drawing as object.
Automatic drawing or writing creates circular forms, scribbles, lines or stripes.
I also explore drawing as a graphic score for dance or music.
Intuition, improvisation, spontaneous gesture and chance are creativity in process.
I’m concerned with real-time process as well as the conceptualized sequencing of contained parts.
According to philosopher Henry Bergson, time is either intellectualized or experienced in duration. The temporal aspect to my work explores these two separate forms of time. Intellectualized time is the conceptual sequencing of parts or events and real time is the experience of these sequenced parts.
A visual image or piece of music involves spatialized time.
Thinking treats space and time, which are containers for being, as the structural categories of coexistence and sequence. Both of these categories can be represented in the spatial medium of visual patterns.
Intuitive gestures use muscle memory and embodied patterns.
I incorporate acting methods such as Meisner and dance techniques, known as contact improvisation into thinking drawing. Attention to the breath. Bodily pulsations set the tempo.
The durational aspect of drawing is embodied in the connection between the brush stroke and the attention to breath.
Failure, disruption, intentionality, control, chance happenings and letting go are also important elements of duration.
Failure creates new neurological pathways. It disrupts prescribed patterns.
Drawing interrupts space– ——-it divides and also shapes it.