Monday, 19 March 2018



All the information for the Embodied Experience of Drawing is on here, Marie has been a geek and a half and created a seamless sync between it all.
We now have the whole list of contributors - provisional schedule up soon.


Marie and I are busy collaborating, discussing, planning, sharing, basically: in-dialogue.
The theme of symposium, of conference is our starting point. It's playing out in a conversation between our practices.

Sunday, 25 February 2018

carbon paper is magic

the shopping and books and carbon paper - next steps.
i've been looking at the use of carbon paper and how to substitute that for graphite (rubbed over and over to create a film that can then be used to 'print'.  i like the alchemy of graphite and the transference of energy.  when I'm stalking someone through traces they've left in a book i like the idea that energy is continued in the process by the material use of graphite.  it's not just a conceptual piece but explores the physical, material, process.

 imagine my astonishment on discovering ......


this is work by MOLLY SPRINGFIELD who has a whole project called The Marginalia Archive. weird feeling to seeing work so close to my own.  different approaches, but soooo related and yet more thoroughly executed, she focusses on the one process for a long time and creates a large body of work out of it.  i have been experimenting and dancing around many many ideas without yet landing on one area and developing further. Her presentation is slick...

had it just been the annotated texts being used as material i would have thought this coincidence enough but the shopping receipts captured in the drawing above were uncanny.

we are on different sides of the atlantic. i only discovered her when a friend recommended i look at her work because it is similar. if i had the time i would start a new strand to my research about the possibility of a pre-determined trajectory when the research combines drawing, text and generative processes. the outcome is bound to be a common one if we use texts from ordinary life.  the process we have used is scarily similar but as i look more closely i see huge differences in our approaches and concerns. which is comforting, i have to say! but on first glance it's a bit of a spine tingler....

Wednesday, 13 December 2017

Notes Page 17


Responding to Familiar Things, Highmore (2011)

In what ways are objects important to my practice? I often draw on paper that as material is loaded with inference. Shopping lists on scrap paper collaged into other paper detritus from retail expeditions.
I use other altered, found, natural and non-objects. As source of ideas and also as material.
Working conceptually or should I say making conceptual art or should I say conceptualising conceptual art..?  adds a complexity to the idea of object (reflecting back on the recent tutorial where the presentation/display of the concepts is a problem) and how does this explore the 'danger of reification (the thing-ifying of cultural processes)'?

An exercise in ekphrasis:
I noted I used a technique of finding a way in to reading the object, not dissimilar to looking at an artwork when I began to write about this object. It's useful to step back from what is familiar to objectify it and then really understand its visual language. Something I don't often do with my work. The familiarity carries a lot of assumption about what is being communicated. To look at it objectively (and that requires consciously using devices like this) exposes these assumptions.

The slide is old.  There is a crack in it which adds a vulnerability to its already fragile tense (it’s glass).  The writing is ornate, cursive and dated. (although there is no actual date on it).
The description is bizarre and unusual, it says the image captured on the slide is of the ‘trachea of a healthy bee’. This is the only clue to what the image is of. 
 As you look closely you can see the magnified image of something that looks insect like, biological, microscopic yet enlarged.
As an abstract image its tone creates a 3d illusion. It is in fact in negative. Is a negative.
I'm not emotionally attached to this object.  I could have chosen the lego figure that has vigilantly watched over and entertained my children for years but I picked this up for the exercise. Because it's value is in being interesting, inspiring and curious.  Not in being familiar, nostalgic and sentimental.

Saturday, 2 December 2017

Notes Page 16 tutorial

A tutorial.

I return to the beginnings to try and explain everything. The shopping lists get pulled out from all of the other dross. It's the simplest - yet strongest - has the most potential and can funnel the other theories and ideas. Some of the notes:

  • .. ..creating  practices based within everyday experience, especially relating to walking and shopping.
  • There are important questions of spatial and temporal organisation that are implied by the different kinds of depiction. 
  • You are working in a conceptualist way which I think is developing some stimulating experiments. You can translate these working methods into more ‘realised’ images – this will be an interesting way of testing the boundaries of your practice. 
  • using words alongside your mark-making projects. 
  • There is something useful about the way that shopping lists overlap with the poetic memory experiments. 
  • presenting the work? it might be that you need to create conundrums about the location of the work. 
  • These questions about presentation are integral to your practice.

Kim miraculously helps me refocus and revives a mode of provocation.  I begin to get that the point is to utilise the one piece/experiment as a lens to view through.  I can expand/explore freely through it but by returning/reviewing, as you would with a viewfinder when drawing, it will hopefully keep some clarity.   I begin to sketch the significant themes through this frame; the everyday (and pedestrianism), memory (specifically archiving/capturing memory), drawing ( - line, repetition, ambiguity, interzone and more.....) and above all really questioning/provoking presentation/communication of process and conceptual art and I start to feel solid ground for the first time in ages.  

I look back on my latest abstract.  I can see how much of a sudden shift this new perspective has caused. Unable to articulate what it is exactly but knowing it has something to do with locating myself in the actual material practice rather than the theory/idea of it. Inside out rather than outside in? Research through practice not practice through research? I realise how far off I was and how myopic things can get by trying to wedge ideas into theories/fields definitively. There is a way of contextualising that locates but doesn't make it absolute and that skill evades me.......

Thursday, 30 November 2017

Notes Page 15

The pedestrian blog for November ends today.
I'm collating the entries and extracting the significant ideas to marry up with theories I've been looking at.

As part of a symposium of work in progress I submitted the abstract below.
I'm hacking this up now and highlighting what needs defining, elaborating, ditching.... It's been a helpful process for refining the question(s).  I'm also helping to organise the symposium and this already has been an eyeopener.  It's so vital that an abstract lands the presentation in the right field/area, is explicit about the intention and is clear.  I'm not sure I had fully appreciated this before.
The difficulty of committing to a set of ideas holds me back.  So I"m publishing here to force some kind of decision......


Lining up: What is lost (or gained) when drawing research is (not) pursued through lateral or non-linear approaches? Need to establish/define ‘drawing research’, ‘lateral’ and ‘non-linear as terms.  Attest why this is a purposefully ambiguous title. order/chaos?

Under the working title of Pedestrian I have adopted an experimental methodology of researching through walking. The notion of line is a recurring theme in my practice; as a formal system of drawing, as a wider philosophical subject and as allegory for investigating Research through Practice as a subject. So my research sits mostly in the field of Drawing Theory and Philosophy but has always wandered over tentatively into areas of psychogeography, autoethnography and phenomenology. Do I mention what I will be making or doing? Do I need to at this point? Explore/define psychogeography, autoethnography and phenomenology.
(also elaborate on disruption of line, wayfaring/wandering)

My proposal for this MA began with a concern for my working process.  I had begun to realise - in being of a very non-linear disposition, with a disorganised thinking style - to maintain a productive and logical practice within established models of practice and research I had adapted my behaviour.  I had modified. I had lined-up. And in doing so I had eradicated self reference, spontaneity, chance, even any expressive or emotional traces. I had objectified, controlled and constrained. Line as: retaining and recalling memory, repetitive nature of the action of walking (and trying to remember it) - documentation in ref to memory (eg camera synchronic to drawing/notation etc)
As this is literally knowledge gleamed from practice I rely heavily on current thinking around Research through Practice to contextualise this overall problem and convert it into data for the next phase. I have begun to form conclusions, for example; there are advantages to constraint and the paradoxical freedom it enables; my thinking style is of use in an autoethnographic methodology but I wouldn’t have been able to critique this without the previous experience. 

Bearing this in mind for the presentation I would like to explain how the background connects with the next phase and have identified for discussion three key aspects currently being explored:

  • Considering walking as a form of drawing. 
  • Pedestrianism as a metaphor for lateral thinking. 
  • Drawing examined as rational production or phenomenological process against visual and cultural value systems.

Notes Page 14


Interzone (provide definition)
Ambiguity (refer to Tracey)
Liminality (provide defiinition)

Parallax - maintaining an ambivelant position whilst shifting the view slightly each way...a perspective from multiple postitions....

“Interzone” captures perfectly the spirit of the region which is being described here: spatially, economically, socially, psychologically, spiritually, and mentallyInterzone, here, seems a term located at the very nexus of intersecting lines of global interests, passions, energies and violent eruption. e “Interzone” as a spatial metaphor designed to foreground mechanisms of exchange, fusion, and categorial shifting

William Burrows credited with the original phrase.

Analogy of Intersection (Traffic) : New/Old Architecture, Pedestrian/Motor, visible/invisible (drawing)

Lines are ambiguous - divisive and connective, a border is an interzone

white paper is an absence / ambiguous ... tracey guy on ambiguity adriana ionascu
autoethnography is also an ambiguous process/methodology

The Embodied Experience of Drawing 2018

A short glimpse into The Embodied Experience of Drawing  2018 Credit: Stuart Bewsey