Drawing re-called sensations with
attentive awareness of time and moment
With my new confidence in my figurative drawing and my emotional attraction towards outdoor of absorbing and drawing the atmosphere of the location, I was wondering how I could possibly combine both. Ideas as urban reflections, public spaces came to my mind.
In my drawing approach I like the interaction of me, the surface and the drawing media. I was most attracted by the physical drawing approach of Frank Auerbach, the fascinating multilayer/translucent techniques of Jenny Saville and the use of powder by Emma Stibbon.
I chose to make a wider visual and contextual research in those topics that interest me most: expressive physical approach to drawing, use of translucent techniques, and use of powders, site experience, and bodily awareness. From conceptual point I looked into disguise, distortion, and ambiguity. I hoped to find new ways from there for my drawing approach. My sketchbook studies informed me what ambiguous markings and techniques to convey a sense of disguise and distortion and to focus more on simplicity in my mark making.
Through my initial researches, sketchbook and on-location studies I discovered the difficulty of combining figurative and nature elements. I approached it differently by understanding the human skin as a landscape and geological phenomena of a site as a reflection of moment and passing time. My project is developing into an investigation and exploration of spaces, forms, and atmospheres with special attention to my emotional and bodily responses. With this drawing knowledge I approached the complexity of site sensations, informed by artists like Deborah Harty or Mary-Clare Foà. My studies made me aware of the different levels of direct sensation, re-called sensations, and my visual perception – a phenomenological approach.
My project evolved towards a relationship of nature and the human presence. Informed by Arte Povera and especially ways of working of Giuseppe Penone, Gabriel Orozco, and Alberto Burri, I decided to make a deeper investigation and exploration of site experience with strong bodily and visually awareness. During my project studies I became aware of elements of edges while drawing. Informed by artists as Jasper Johns and Nigel Henderson as well as conceptual thoughts of Deborah Harty, I worked along this path and incorporated layers as collage and dé-collage for expressing my levels of sensational experience and the edges as an expression of crossing experiences and disruptions of sensations and time. I am going to push the limits of sensational experiences through further ideas of delineation, abstract and expressive gestural markings as I’ve noticed from Claude Heath and Giuseppe Penone.
More aware of surface structures and its irregularities I reflect those in my drawings of site sensations. Working mainly in dry media I explore the spaces with an intimate physical approach in a constant dialogue of my sensations, the surface and the material. This will be by itself an act of ambiguity. I use wet media and pastel ground to support my sensational experience and creation of atmosphere.
I felt that the complexity and variety of sensational experience can not be conveyed only with one drawing. Thus I decided to work in series, one with a more intimate approach to the phenomenological process of drawing re-called site sensations. The other more as a reflective visual perception of the flow of time and moment.¨
My personal project helped me discover new drawing approaches and to have the freedom for deeper investigation of a subject.