Method: Make a drawing that relates to its environment in a way that creates an interesting dynamic between the artwork and the space around it.
For this project i used my garden and tried to add drawing that would fit in, interact and can be a part of it at least temporarily.
1. My shadow outline on the shed/studio space. Here i used my shadow and charcoal to “imprint” my outline on the space i occupy while working on the course.
It would have been easier and more accurate copy if someone else drew it , but i found it more interesting to do it myself – the shadow kept moving as a drew using charcoal. NOw everytime i walk by i smile and feel more connected to the space i use.
2. Shadows of the roses.
Using charcoal i drew over, trying to capture the essence rather than accurate contours of, the rose bushes. As clouds moved and wind moved the branches so did the shadow, this added more interest , in my opinion, to the end result.
two with a big shadow two with a smaller shadow two without a shadow
Video of how the drawing looks while sun creates shadows.
What i like about this “interaction” is that when the sun creates shadows the drawing is almost invisible, but when overcast the drawing becomes the shadow itself. Also i felt this fitted in really well as when asked my family did not see it until i pointed out, and that was exactly what i wanted – lines became part of the surrounding.
3. Going along the Lines with blending in i wanted to make a wire drawing that would fit with the dried grass and still bare branches, but one that would have a movement. While working on assignment 4 ( horse) i used Leonardo’s horse drawing as a model and shaped a piece of green wire into a horse head. I left just enough length to create a spring, and some more to be able to attach this around the garden. The movement created by wind and the spring in the wire resembles the motion of horse feeding in the field.
The static images – quite hard to see as the wire blends in with the surrounding lines of grasses – which is what i wanted, as this adds inconspicuously to the surroundings almost becoming one.
Here it is attached to the fence near the “wild garden” patch and some fire wood, short videos below show the motion as if the horse eating.
Here the head was attached to the tree, giving it a linear body. and short video below
Here it is grazing on some herbs, attached to the cut down oak tree, and a short video
Here i have put it in to the stable – attached it to the fence, as if it is peaking out before the bed time.
I totally enjoyed this experience, and my mum really loved the horse grazing in the garden, which is quite uplifting.
I feel that overall ideas for this projects have potential to be bolder or larger but they have worked in the space i chose. The charcoal shadows blend in and almost unnoticeable doing exactly what they were planned for – be a part of the whole. The wire head gave some smiles to a few people who seen it in motion and i enjoyed taking it out for a graze around the garden. The wire mimics lines that can be seen around it and in a way grows out of the thing it is attached to.
“Many artists use installative drawings and what these artists are doing positions the viewer or audience member in a totally different way to someone viewing a work on the wall contained within a frame.
Using the link below, look at the work curated for On Line, an exhibition of contemporary drawing held in Edinburgh in 2010. Look particularly at the section entitled ‘line extension’ which discusses the work of Robert Rauschenberg, Cy Twombly, Ellsworth Kelly, Karel Malich, Edward Krasinski and Pierrette Bloch:” http://www.moma.org/interactives/exhibitions/2010/online/
Line extension section presented works that use line to extend beyond flat surface of support into the 3D space we occupy.
I am familiar with some of the artists and their work that feature in this exhibition.
Personally i’m quite a fan of Alexander Calder’s wire works – he uses linear qualities of wire to place the drawing into the space away/out of the flat surface of paper. Added movement creates visual interest and in a way makes line appear as if it is in a process of being constantly drawn/changing.
A Calder, Calder room at National Gallery of Art in Washington, D.C.
Ellsworth Kelly – uses automatism and gesture often while not looking at the support – this creates lively markings , to my eye they resemble moving branches that could be seen on a large tree or grasses in the wind. Spontaneity and unpredictability of resulted marks appear still moving. In a way his use of gesture is similar to the Way Pollock used paint while immersed in the process of creating his canvasses.
some works by E. Kelly https://www.moma.org/collection/works/37190?artist_id=3048&locale=en&page=1&sov_referrer=artist
Robert Rauschenberg – his work quite close to me personally , especially the idea of using “found” or recycled materials. His pioneering Technics of combining painting/drawing with performance art , as example where he used car to draw it’s tire marks, opened up new possibilities and doors into the idea “we can do anything” in a name of art.
Automobile tire print : https://www.moma.org/interactives/exhibitions/2010/online/#works/02/49
Edward Krasinsky – his work was new to me but i found it exiting, as the idea of “leaving” the plain of the flat surface is quite similar to what i’m exploring at the moment.
Pierette Bloch (June 16, 1928 – July 7, 2017, french), . Why is she described as using “poor materials” and what do you think her materials lend to her subject matter?
Looking at her work makes me think she was very much interested in mark making and expressing the qualities of line by using materials that mimic it’s qualities. Why to use “poor”materials ? Sometimes the simplicity of material can capture momentum and imply the moment our eye sees the object , we can make out everything else later. I think her background in textiles led to the use of singular strands of horse hair, wire, thread, inks, paper – they found life of their own out of the whole piece delivering “simple” but striking result at the same time. Also she is being referred to as a modest person, as example she mostly signed her works on the back, and this perhaps was her way of relating to works produced.
image source http://fryderyk.canalblog.com/archives/2013/03/11/26592960.html
Her works are mostly in black and white, linear and appear moving in space while remaining static at the same time. I particularly liked Horse hair and wire pieces – i can imagine that the hair move as the viewer comes close or walks by. The elegant twirls and knots create ever changing line that in it’s simplicity takes over the space it’s occupying.
Some of her work reminded me of works by Russian installation artist Dmitri Gutov, in particular work where he uses fishing line. In an example below he used line attached to walls with dust particles tied to them. I found this project fascinating and it captivated my imagination when i heard of it.
“To what extent would you say that this piece by Louise Bourgeois is a drawing?”
( i could not find the image that is in the course materials, but the one below is similar)
image source: https://www.sfmoma.org/artwork/fc-555/
She uses theme of spiders throughout and has a lot of drawings using hard media to very fluid paint. Also she has produced a series of sculptures where she plays with scale and materials. To me , the answer to the question is – i think it is a sculptured drawing that found it’s way from flat 2D support and emerged as a 3D object that fills the space and interacts with the viewer on a different level. I feel that material and the linear qualities play role of drawing in space/air rather than being on a paper surface.