Second attempt (18 Dec 2015)
(around 500 words)
Questions to answer:
– Why you chose it, which artists, materials, methods, themes, etc., interest my and why?
– Working through this final drawing project, reflect on what you’ve done before and what you’re doing now-
– Critically assess your own work and complete a piece of writing.
– Showing my ability to think clearly and creatively about my own drawing, and being able to inform and build my practice through looking at what others do, why they do it and how you might learn from their example.
– My artist’s statement should accurately reflect my journey through your chosen personal project.
From previous parts of this course I felt a new drawing confidence in figurative especially portrait drawing. However, I felt an emotional response at times during my outdoor exercises, especially when I was on site absorbing and drawing the atmosphere of the location. At that time my drawing skills were not convincing enough. For my personal project I was wondering how I could leverage my drawing confidence from the figurative part in combination with outdoors elements. Ideas as urban reflections, public spaces came to my mind. Regarding drawing material I found dry media with a limited color palette most appealing. Later I was fascinated by the incredible use of powders and pigments without knowing clearly how to use them effectively.
I chose to make a wider visual and contextual research in those topics that interest me most: expressive physical approach to drawing, bodily awareness, site experience, disguise, distortion, ambiguity and use of translucent techniques, use of powders.
Through my initial researches, sketchbook and on location studies I am now interested in the following aspects of drawing and wondering how to translate those into a meaningful drawing.
Drawing as a sensational experience and a reflection of the relationship between nature and human presence.
Combining figurative art and outdoor elements as an investigation and exploration of spaces, forms, and atmospheres and to be attentive to my emotional responses.
Understanding the human skin as a landscape and geological phenomena on site as a reflection of moment and passing time.
My drawing will explore the areas of my bodily and visual awareness and push the limits of sensational experiences through ideas of delineation, abstract and expressive markings.
I will be aware of surface structures either on objects or my drawing support, with irregularities mirroring re-called sensations.
Working mainly in dry media as they are harder the surface and deliver a stronger bodily sensation while drawing.
Using collage and dé-collage techniques will support my bodily and visual reaction to crossing boarder, levels of experiences, and disruption in time and awareness.
My drawing process and the visual reflection will be a constant dialogue of the subject, the surface and the material. This will be by itself an act of ambiguity.
My drawing will pull from various, mostly contemporary artists who demonstrated a physical attitude and fresh approach of drawing and who fused media together for pushing the limits of drawing.
In random order, with emphasis on bodily awareness, site experience, disguise, distortion, ambiguity and use of translucent techniques, use of powders, and expressive physical approach to drawing:
- Frank Auerbach, John Virtue, Kate Downie, Jenny Saville, Emma Stibbon, Lucian Freud, Jessica Rimondi, Marlene Dumas, Alberto Burri, Giuseppe Penone, Gabrial Orozco, Deborah Harty, Claude Heath, Tatiana Trouvé, Juul Kraijer, Nigel Henderson, Jasper Johns