sketchbooks' data

My artistic practice has its roots in a ‘representational’ approach to drawing—though what I strive to locate is a view that is formed and informed by interior aspects of seeing. For me, drawing recounts from an impulse to follow some glance of existence toward greater clarity. Thus, my choice of schema does not imply a privileging of figuration over other modes of expression. I believe all drawing is, by nature, an abstraction; a record based on inner impression, a format that discloses elements of the observable, which would not ordinarily become available outside the process of drawing. Drawing—in & of itself—constitutes (from) an opening onto another territory of awareness— its location somewhere between what is ‘real’ and what is imaginally latent. In ordinary perception, we adopt an orientation of sight within a visual regime that reinforces what meets the eye. The view to drawing differs; it disposes itself towards additional and altering currents of input. Thus, drawing expresses as its own species of living data because—even when it is meticulously considered and rendered—a drawing is a fabrication, an internally-invented world, not unlike a dream, in that it is fanciful, incomplete, other.

Through drawing, I seek to discern broader possibilities within the perceptual field, where drawing’s methods of looking may apprehend and articulate unexpected edges of the visual field/perceptual world. Hence, drawing is a sleight-of-hand that registers and interprets through layers of visionshifting regard between the perceived and the imagined, between the percept and the image. Drawing allows for reception and perception which un-enforce habitual projects of looking. Drawing expands and/or distills apprehension; allowing us to see more, or less, than what meets the eye, and to also detect what meets the “I”.

 Philip Rawson (Drawing, 1969:1) defined drawing as ‘most fundamentally spiritual…of all artistic activities,’ whose ‘basic ingredients are strokes or marks which have a symbolic relationship with experience, not a direct overall similarity to anything real,’ thus affirming drawing as a pursuit ideally positioned for thinking through variations of consciousness – where drawing itself can be shown to unfold as a form of waking dream. In drawing, I glimpse into an individual imaginative world; one which appears in watching for impressions which will reveal and create themselves, one which comes into being out of the notation of marks that thicken upon the page. In drawing, I enter into conversation with and through images and, by doing so, find out more about what the world looks like to me.