"...am unsure as to where I should be looking to theoretically support
my intuitive response or if it should be a more structured process
from the outset"
This is the crux of the problem - it's going to be very difficult to
approach the dissertation with your intuitive responses to the way
that you work as a basis. Attempting to illustrate this with the
theoretical heavyweights will be tough - it's better to choose a
couple of artists who really resonate with the way you work in
general.
Why not map out the areas that you're interested in - performance (for
whom, how, & why particularly drawing - is this not true of many
artforms?), physical space of drawing, limits & conditions,
recording/documenting (in relation to other ways of doing so). The
language is going to have to be picked apart. Robert Morris' 'Blind
time' drawings are great examples and he writes brilliantly about his
practice in a brilliant new book of recent writings 'Have I reasons'.
Of course it also depends on how many words you have to play with - is
it a BA dissertation? Better to go really in depth on one (more
unusual) aspect rather than skim around things with a light touch.
Good luck!
Josie
On 12/18/08, Amy Ralston <[log in to unmask]> wrote:
> Hi,
> With regards to previous advice on giving more
> information. Thanks for making me think this through more deeply. I've
> been making a series of large drawings, their scale being determined by
> my body
> size and my physical relationship to the drawing surface. I have been
> trying to
> respond to the process of mark making and the way it seems to develop a
> feedback loop that becomes a decision making process. Through research I
> have recently become more aware of the perfomative
> aspects of drawing. For one reason or another
> I start to prioritise certain types of marks over others, as these
> marks
> develop, structures seem to suggest themselves and a drawing occurs.
> What
> interests me is how to move forward. I could just keep doing this, but
> feel
> that in order to become more purposeful in my engagement I need to
> unpick the components.
> There is this record of decision making that is the physical drawing, I
> know
> where I started and can see where changes in direction occurred etc.
> But I'm
> not sure what this 'means'. It feels OK and I 'like' the look of some
> of the
> images, but I'm also aware that when I'm immersed in this process I'm
> 'performing' or 'acting' out what is happening and intuitively sense
> that it's
> the action I'm immersed in that's more powerful than the product that
> results. I
> have been looking at a lot of other drawing such as Robert Morris'
> 'Blind Time Drawings' and Rebecca Horn but
> am unsure as to where I should be looking to theoretically support my
> intuitive
> response or if it should be a more structured process from the outset.
> It has been suggested that I look into the 'embodied mind' and I can
> see why but am finding it hard to find a framework for thinking this
> through.
>
> Any feedback would be appreciated
> Thanks, Amy
>
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