Tintoretto's alarm clock plate copy.JPG

about

 

about

 

My practice and research is rooted in a ‘representational’ approach to drawing - though what is sought is a view upon an interior world: the fleeting glimpse of less visible aspects of existence, a hunt for a hint of the unconscious, broadened areas of possibility within the perceptual field.  As such, a work of art is an excursion into another kind of landscape - not unlike a good night’s sleep, a dream, or a few hours of reverie in the dark of a cinema. We encounter the imaginative world projected outside of ourselves – in order to consider how our world looks to us.

As with sleep, the act of drawing, in & of itself, can open onto another territory of awareness - a location between ‘real’ and something other. Like sleep, this different place flickers into daylight consciousness, a door we slip through while we’re not noticing. In sleep, this doorway itself is never seen, yet we make the passage just the same. So it could be also said of creative practices - at those moments when the body forgets itself and its fixed position within the tick of linear time. In this sense, drawing and dreaming are companion zones – ones where we dwell in subtler spaces of being. There is a point in drawing where the physical process of tool striking surface gives way to a portal of sorts. The artist enters the piece and, once there, travels around inside that work until finding the destination or resolution. Only then (often reluctantly) does the artist withdraw. So too it is often difficult to depart the dream/scape,  to return to morning from the territory of sleep. 

I wander drawing, seeking unexpected revelation among the strokes, erasures, intentions and accidents – hoping for just a glance at who and where and how we reside in these parallel world(s).

Dr. Lynn Imperatore