Studio Practice – Drawing
Since graduating in 2009, my practice has gone from installation work to drawing work. Before graduating, I saw drawing as a ‘basic’ tool to realise ideas and construct plans. So, a ‘back to basics’ attitude to start my work
outside of the institution seemed quite fitting. The drawings I produced were initially never meant to be exhibited, not because I was ashamed of the work, but because I deemed them as ‘unfinished’. I thought these drawings were a ‘stepping stone’ to something, a production of a process in order to realise the potential artwork, as many artists do.
“Scratches made while on the train, in a plane, a hangover from the HighRenaissance where every telephone number and coffee stain (by the rightperson) revealed the inner or under or deeper or less disguised and more naked creative nerve – so many little exposed nerves; see them trembling beneath the neuritis and neuralgia of the cross-hatching.”
– Robert Morris
Robert Morris views drawing as a private area of an artists practice, a taboo to be shown in public. Carl Andre would agree with Morris’ view on the privacy of drawing stating, “drawing has never been a method useful to
me and I do not want any drawings of mine shown.” (Rijksmuseum Kroller Muller, 1972). Whereas Frank Stella disconcerts himself with drawing altogether, deeming it “less and less necessary”.
The more conscious I became of my mediums and processes, the more interested I was in why I used drawing.
“Provisional, quotidian, humble and unassuming, the practice of drawing was often overlooked by critics and curators during the Modernist period. But since the later 1960s, an emphasis on material processes, conceptual operations and bodily actions has led to a resurgence of interest in the notational and indexical properties of drawing.”
– Anna Lovatt
Using drawing to realise ideas, I experimented with different materials, objects and techniques; playing with the idea of drawing itself. I agree with Morris that drawing is a very personal ‘thing’, all artist’s work is personal as it is an extension of the artists, their interpretation/representation of a subject or object. What I favour with drawing is its ‘unique’ quality, making a mark that no other can do identically, “each person draws a line differently and each person understands works differently”, Sol Le Witt.
Over time, I became more experimental, which provided me with more confidence in experimenting with drawing and combining the medium with new media and more sculptural qualities. I was trying new techniques and questioning drawing as a medium.
Artists use drawing for many reasons. Some to realise concepts, some to record notes, and some as a fundamental discipline. I now use drawing as a medium – not only to realise my concepts but to be the visual representation of my concept. Playing with the idea of combining concept and material. Looking at drawing in its broadest sense, mark making.