From my sketchbook studies, researches, and experience on site and re-called sensations, I am thinking how to define closer my subject and drawing approach. I know that I have to focus and come to the point. I am optimistic that at the end all comes together. However, I have to watch the timeframe for this course.
I am collection here some notes. My drawing approach should than follow it (see also my second attempt of written statement – Schaffeld, 18 Dec 2015) an experience with curiosity and in contact with my environment, my drawing materials, my reflections.
Curiosity initiates contact and generates knowledge. The contact or encounter can be seen as the flesh, the interface between body and world (Merleau-Ponty, 1968 in: Brewster, 2009). It is the boarder between one self and others and can be seen as well as a metaphor for social relationships. By that the art work will not re-present but present (Brewster, 2009).
=> Thus my subject could be the presentation of my experience on site with me as the artist articulating it?
- Walking – touching – hearing (bodily awareness)
- Seeing – observing (visual awareness)
– created through the moment – experience (attentive awareness)
– evoked by the past – memories (contextual awareness)
=> Which sensations to draw? Momentary while walking – recalled – site ‘knowledge’ – while drawing
= look at
- New sensations – new experiences – from moment till moment
=> Thinking about time and my levels of sensational experience
- Recalled sensations – back home – in studio
- Layers: images of represented experiences – presented in one image? or in series?)
=> How to embed in layers my experiences? Site, knowledge, drawing, support – quite manifold= = look at Giuseppe Penone,
- Interfaces – boarders:
– Self – environment – others
= some thoughts from my exhibition visit on self-portrait and contemporary approaches (Schaffeld, weblog post 15 Dec 2015)
- Crossing boarders:
=> When ? How ? Visualization? Delineation – Reflection – juxtaposition
= look at Jasper Johns
Here I found an article of J Hochberg in Oxford Art Online about perception the image of a pebbled beach with an empty square in the middle. Are the pebbles continuing behind that square?
=> How do I recognize that I cross boarders? Edges? Experiences? (my own-others) = look at Deborah Harty
- Figurative and outdoor elements:
=> How to combine figurative and outdoor? Should I combine at all? Better to simplify?
= look at Juul Kraijer, Nigel Henderson
- What is left ?
= Visualization – my drawings
= look at Sam Vernon
– Working in series to show process of experience?
– Make one drawing only as a condensation of my journey?
- An iterative process – never ending – never finished
=> a key aspect as suggested by my tutor “to see every piece as a study to prevent a creation that eventually become contrived, and dead“
My visual journey map:
- For a better understanding I placed my own key images from figurative and outdoor parts, my studies, and some for me key contextual artists on a board
=> It shows clearer now where I will move towards:
Sensational site experience with my human humble presence
aware of the moment and time.
- Brewster, A. ‘Beachcombing: A Fossicker’s guide to whiteness and indigenous sovereignty’, in: Smith, H., Dean, R.D. (2009) ‘Practice-led research, research-led practice in the creative arts’ Edinburgh University Press. pp. 126-152
- Hochberg, J. ‘Perception – II.1 Pictorial depth clues’. Entry in: Oxford Art Online Available from: http://www.oxfordartonline.com [accessed 20 Dec 2015]
- Schaffeld, J. (Weblogpost, 15 Dec 2015) ‘Exhibition notes “Ich/Nicht-Ich (Me/Not-Me) – Self portraits’ Available from: http://ocalog.stefanschaffeld.com/?p=3186
- Schaffeld, J. (Weblogpost, 18 Dec 2015) Available from: http://ocalog.stefanschaffeld.com/?p=3449