Monday, April 25, 2011

Speculatio through Drawing, an abstract

My presentation at UNIDCOM / IADE 6th Intl Conf (Oct 2011, Lisbon), in the category THE Sense of DRAWING, Making Sense through Sensibility (knowing through drawing) would have proceeded from the following abstract. 

However, due to reasons beyond my control stemming from extenuating circumstances, this paper could not be presented in Lisbon!

Speculatio through Drawing
Drawing allows me to reflect on ideas that lend themselves to deep introspection—a search for possibilities in phenomena that pass across and within my senses—works which are reflections on concerns situated at the intersection and layering of religion, sexuality, and consciousness. “Layering” is a metaphor for encapsulating fragments and wholes that convey, power, compassion, and the memory of time & culture.

Through drawing, I attempt to achieve organic marks which reveal the underlying emotions of our thoughts and ideas—a receiving. I enter spaces to bring out natures within my being, and comprehend through speculatio--contemplative reflection—to which otherwise I would not be privy.

My drawings are an attempt at wholeness; an orison—towards assigning marks and generating form of the formless, often within extreme abstraction; employing a broad range of media and approaches, some learnt through an ongoing practice in Shodo. More recent works fall within the following areas: a book of thirty drawings on torture; works on the theme We do not come by our Thoughts, They come to us; drawing letterforms and other subjects while glimpsing, gleaning and assigning meaning to the works in the manner approached and through the act and dynamics of drawing.

The knowing, comes from an innate desire to flesh out a thought through drawing—where the mind works with "memories" harnessing the body and its dynamics, as one lays down marks accordingly—from seeing the thought in the way it reveals itself, and/or as one reflects upon it—modulating the information as it gets constructed, and even as the piece reveals itself. I draw from  ideas—with some concreteness as in a  fictional character constructed by a writer/poet perhaps from accumulated experiential angst; or with more diaphanous notions as in the epiphanic, the euphonious; or by seeing possibilities for expressing ineffabilities—following the stirrings that one cannot  place, yet are real and palpable...knowing has begun. The realization is a drawing.

The concreteness of working with time—the attempt to represent visually is two-fold. One is embracing the thought to the best of ones ability—this being a visual manifestation. The other is conveying glimpses of time in one piece—but without freezing a moment. Spatiality, temporality, looking at appearances, drawing from within those perceptions--what appears reliable—and attempting to weave such consciousness into one’s experience is my drawing practice.

image: Vicissitudes of Exile IV

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