I've written about Klee and taking lines for a walk in a book just out,
maybe of interest:
Tim Ingold, LINES: A BRIEF HISTORY (London: Routledge, 2007).
It also has a chapter on writing, drawing and calligraphy...
Tim Ingold
-----Original Message-----
From: The UK drawing research network mailing list
[mailto:[log in to unmask]] On Behalf Of Maureen Kendal
Sent: 22 May 2007 08:55
To: [log in to unmask]
Subject: Re: Enquiry about a focus for drawing
Paul Klee - taking a line for a walk
I use this approach - taking a line for a walk - with my students
Much Art education is influenced by the Bauhaus.
Very interesting conversation here! Thank you
On 20 May 2007, at 23:15, Steve Robinson wrote:
> Iinteresting, I used to be involved in Spiritualism and this
> drawing without conscious intent would be called Automatic Drawing.
> I know this is now a label in the art world for this kind of thing,
> but the reasons behind the title are a little diferent. I find it
> fascinating how the subconscous mind can influence the physical .
> I have been using images from my mind, sort of mental photographs,
> alongside real photographs to produce paintings this year (second
> year fine art degree at DEMONTFORT UNI.) thinking that their was no
> naration to the canvass at all, but now find there is perfect
> alignments between all of the images. I have virtually been talking
> to myself all year without realising it, and in fact have probably
> been giving myself therapy !! My paintings are heavily influenced
> by my drawing. As for your way of starting with a line, who was it
> who said he "took a line for a walk" ? I think this is what you are
> doing and, by the way, how many works makes a body of work? You
> should think about an exhibition of the work you have already
> produced, I for one would be very interested in seeing them.
>
> Keep going.
>
> regards
>
> Steve B RObinson
> www.art-cell.com
>
>
>
>
>> From: Patty Hudak <[log in to unmask]>
>> Reply-To: The UK drawing research network mailing
>> list <[log in to unmask]>
>> To: [log in to unmask]
>> Subject: Re: Enquiry about a focus for drawing
>> Date: Sun, 20 May 2007 22:14:41 +0800
>>
>> Thank you for such a personal post.
>>
>> On 17 May 2007, at 2:46 AM, Suzanne Duffy wrote:
>>
>>> Dear All,
>>>
>>> This is my first endeavour to make a post and I would be
>>> delighted to hear peoples views.
>>>
>>> Does anyone feel they work with/from images?
>>
>> My drawings are imaginary and have to do with a common curved
>> line. As I draw, the imagery appears, usually pretty abstract,
>> but with references to experiences and events in my life. I
>> don't control the images, just let them appear. Sometimes I have
>> a vague idea of what they will be, like a starting point, but
>> they generally move me in new directions.
>>> What do you feel you are working from when you draw?
>>
>> Mostly I work from the line, controlling its course, refining it,
>> trying to maintain kind of a dreamy state of mind (like "the
>> zone" when people exercise).
>>>
>>> Is it memories, new thoughts, hypothetical thoughts, dreams, are
>>> you applying thoughts to something like an object or place and
>>> building from there?
>>
>> I try to occupy my thoughts, elsewhere, so I am feeling the line
>> more as a general state of being. Sometimes I listen to podcasts
>> when I draw, science subjects, medical shows, museum podcasts, to
>> occupy the critical part of my mind so that the line comes from
>> somewhere else (I am not entirely sure where...).
>>>
>>> How concious are you of how the image is forming and how
>>> deliberate are you if you are someone who has been drawing for a
>>> long time?
>> I have had a drawing practice for at least 20 years, so a long
>> time. The way I draw is really impractical, because it is
>> extremely slow. So maybe I produce about 10 drawings a year, and
>> maybe out of those 10, 8 are worth keeping. It is not even that
>> they are detailed, because I erase more than I draw, so that you
>> could not even guess that they were so labor intensive. The
>> problem is that I define myself by this work, but it will take me
>> years to put together a body of work for exhibition.
>>
>> Because I have been drawing for so long, I do not have a feeling
>> of self doubt between myself and the paper--but a huge feeling of
>> doubt between myself and the public!
>>
>> The image forms itself, but it looks familiar, like someone I
>> love. There are small surprises. I always want to be doing more.
>>
>>>
>>> Do experienced drawers find you can almost repeat a drawing? or
>>> feel that your pace is quickened and less tense?
>>
>> There is no sense to repeat a drawing. But the last set of
>> drawings, I traced the same drawing onto 4 sheets of paper, then
>> worked on them individually. They each took there own
>> direction. They look like cousins.
>>
>> By the way, I am an identical twin, so the idea of 2 drawings
>> looking alike is not lost to me. But, I prefer them to be mirror
>> images.
>>
>>>
>>> I find drawing an intense and erratic experience, coupled with
>>> my emotions towards describing something, I am also not very
>>> respectful of the process, at least thats how it feels! When
>>> drawing from observation I also feel overwhelmed by the number
>>> of ways I could make an impression or response to the subject.
>>
>> Let the line go. Every drawing will have its own direction. Try
>> not to think so much, but feel the drawing. Use your senses
>> rather than your mind. The stories about the drawing can come
>> later, because they are there, no matter what.
>>
>> Also, there is not so much difference in the process--drawing
>> from life/drawing ideas, it is all about moving around the page,
>> creating space, creating some kind of reality.
>>
>> It is such a privilege to make drawings. If you feel self doubt,
>> don't worry, it is part of extending yourself. You can play out,
>> in an abstract way, life's experiences. Overcoming fear, making
>> decisions, getting rid of things you no longer need, etc., you
>> can play these out in drawing.
>>
>>>
>>> I guess I am interested in drawings reflecting people's response
>>> to a subject.
>>
>> I think that the subject comes as a secondary response, it is not
>> the part of the drawing that you control. Otherwise, the drawing
>> can come out illustrative, too self conscious. Take the line for
>> a walk, follow the contour of your subject.
>>
>>
>>>
>>> At present I tend to work more on computer, altering and
>>> composing images, I am happy that the traditional process or
>>> medium has been removed from my grasp but don't get me wrong I
>>> am aware of contraversies over the use of computers and also
>>> those who embrace technology as enabling further the
>>> communication or the expressive process and look to pursue it's
>>> development more radically.
>>
>> I don't think there is such a split between drawing on computer
>> and drawing traditionally. Working on computer is maybe more
>> direct, because it is easier to connect your mind to the process,
>> without battling the physical world. Changes are faster.
>> Sometimes when I am drawing with pencil, I find myself wishing
>> for UNDO.
>>
>> At the same time, scraping one material against another is just
>> so sensuous. On a computer, I have the feeling always that the
>> drawing can be better, so I compulsively make changes and there
>> is no end. It becomes a live video of changes.
>>
>> Keep an open mind and don't listen to all that technology vs.
>> traditional. They should not be placed against each other, like
>> people used to do with abstract vs realism. A good drawing is a
>> good drawing.
>>
>> Enjoy your art college.
>>
>> Patty H
>>
>>
>>>
>>> What are your views?
>>>
>>> Responses greatly appreciated and contrasting views!
>>>
>>> Suziexx
>>>
>>> Camberwell College of Art, London.
>>>
>>> Yahoo! Mail is the world's favourite email. Don't settle for
>>> less, sign up for your free account today.
>>
>
> _________________________________________________________________
> The next generation of Hotmail is here! http://www.newhotmail.co.uk
|
