Part 5: Re-called sensations of site experience

After my previous studies and reflecting on my personal project through my written statement (second attempt) I continued with the next step of re-called sensations of my site experience.

Background are my:

  1. On site drawings (weblog post, 14 Nov 2015)
  2. Understanding techniques of translucent, disguise, and distortion (weblog post, 30 Nov 2015)
  3. Sensational experience (tactile) of the human body (my face) (weblog post, 16 2015)
  4. Contextual research on ambiguity in drawing (weblog post, 12 2015)

Various studies in A2:

I chose A2 scale in order to experience better my bodily awareness and emotional response during drawing. I used my video take from site visit in Nov 2015 as a background noise and visual images (Schaffeld, Nov 2015).

Step 1 – #1:

Warm up, trying to reflect on my initial experiences on site (rain, stones/pebbles, wet surface).

Step 2 – #2:

Following the auditory sensations I had on site and from the background noise. Feeling the moment of drawing, the surface, the roughness of the material (Conté crayon = hard), following my gestures alongside my re-called sensations.

Step 3 – #3:

Multiple sensations, following my gestures, feeling the touch of the applied rough pastel ground (auditory, tactile, visual). Experiment working in layers.

Step 4 – #4:

Starting to include layers, tissues (collage) to visualize my levels of sensational experiences. Working physically with a found pebble a drawing tool. Elaborate my sensational experiences (re-called sensations) of touch, auditory, visual perception.

I am wondering about the visual image, what would be more important, and how to make it a visually convincing image.

Step 5 – #5:

Exploration of spaces alongside my re-called sensations. More focus on visual perception with gouache applied for atmosphere as an element in space (with background markings together).

Step 6 – #6:

Use of pastel ground, more randomly applied onto the surface, pigment to fill between thoses spaces. Feeling the tactile sensation when drawing over this surface, site sensations of walking over the pebbles coming up immediately. I become aware how with continuation of drawing background structure become visible and turning into forms (pebbles?).

=> A new level of sensational experience: combining surface structures with tactile and auditory sensations that end up with new visual perception of the drawing/site.

Step 7 – #7:

Drawing more visually: images of boulders in the river, reminding my of icebergs depicted by Emma Stibbon. A visual reflection in context?

Step 8 – #8:

Moving one step further, applying shelly solution (in spirit) for atmosphere and as a water repellent surface. Shellac an ancient medium and of natural origin (lac buds). Ideas of Arte Povera and their conceptual approach of nature and human presence came to my mind. Tissues glued to the surface and encapsulating found particles from the visited site.


  • I experienced with these studies to a greater extent the auditory sensations from site (supporte by the video-audio in the backround taken on site)
  • I elaborated and explored surface textures that trigger site experiences (touch, auditory)
  • I discovered new elements of:
    – chance (like the randomly applied pastel ground, see #6)
    – intention (see #5,6)
  • I could work on different experience levels in one pictorial image
  • I was able to translate my sensational experiences from figurative drawings into site drawings
  • I was able to positively answer my question ‘sensational experience as subject by itself?’
  • Gestural markings in different media could re-call site sensations
  • There is an iterative dialogue between gestural markings and re-called sensations alongside my visual perception (see #2, 3, 4)
  • Layering techniques (collage and/or translucent with paper, tissues, gouache) can trigger sensations from site experience as well as supporting the creation of atmosphere / spaces.
  • Delineation techniques, crossing edges and boards of papers made me more aware of different levels of sensations.
  • Time: How to consider this? The moment of experience and drawing? Or also as time of reflection?
  • Pebbles as subject: Draw only pebbles?
  • Human embodiment and presence (still combining figurative and natural phenomena?
  • Reflection: How and why to incorporate in my drawings?
  • Layering, translucent techniques: Effectively?
  • Simplicity: How to push so that it also becomes more ambiguous?


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