Dear Steve,
This is an important research project, so pleaded to hear about it through
the network. 
Regards,
Cecile
-----Original Message-----
From: Cecile Elstein [mailto:[log in to unmask]] 
Sent: 02 July 2009 14:27
To: [log in to unmask]
Subject: E-mailing: IMG_0674 copy

  
Your message is ready to be sent with the following file or link
attachments:

IMG_0674 copy


A picture for you.

Dear Gilly,

Memory is of great interest to me. I would like to speak with you to
understand the methodology of your study.
My interest is in the experiential that includes constant flux and change.
As we use various parts of the brain to respond to this changing experience,
both tacit and explicit pathways to understanding memory are necessary.

From my experience in visual art, memory plays a much more important role
than I first understood, and it is linked to action in time.

For example 1.(attachment IMG 0674) 2008 I made a portrait of my son who had
died 10 years previously. I was aware of the role of memory when not
remembering him precisely.
Yet as I worked on this portrait I knew if the action had been false and
conversely when there had been a right action, I knew immediately that my
memory had remembered.

Example 2.(attachment a picture for you) In this drawing the model was in
motion every minute. Working directly from the model, time and memory linked
with action in space. There was no time to be conscious of memory but
without memory this drawing could not have been made.
 
You have a very interesting project. Let me know if you wish to discuss this
further.
All good wishes,
Cecile Elstein
[log in to unmask] 
www.cecileelstein.com




  
You have been sent 1 picture.

Time and Space - Charcoal and coloured pencil drawing drawing 05-05-2008
15-04-26 2334x3160 05-05-2008 15-04-27.jpg





















	





  _____  

From: GILLIAN LACEY <[log in to unmask]>
To: [log in to unmask]
Sent: Monday, 22 June, 2009 8:23:35 PM
Subject: The affects that the memory has on drawing.
My body of work is a series of drawings from an original figure drawing.I
have not looked at the subject again but drawing it periodically, the same
drawing ,and from this I analyse the outcomes.I have done over 26 drawings
of the same and the images vary immensely.I think that the last set of
drawings came out as prior knowledge but the first set from which I did many
showed not so much as loss of memory but finding the memory.
Do you have any similar experiences or do you know someone doing the same
sort of research.
We are looking here for how we corrupt our memories,that the memory is made
up of many things that will influence the work.What sort of memory are we
working with here,multiple types of memory?The work at the moment is riddled
with pre-conception.
Regards Gilly Lacey 

  _____  

From: GILLIAN LACEY <[log in to unmask]>
To: [log in to unmask]
Sent: Monday, 22 June, 2009 8:13:35 PM
Subject: 


 Dear Simon,
I am looking at memory and how the marks change with the memory of the
subject therefore I draw the subject and pose over and over again refering
to the same days later.Mapping the loss of the memory interests me but its
not only the memory of the artist that intrigues me,I have thoughts on the
model and the gaze of someone whose memory is fading the two way parallel.My
immediate thoughts are with the former research however the later may have
triggger some ideas.
Regards Gilly Lacey
MA Research


  _____  

From: Simon Grennan <[log in to unmask]>
To: [log in to unmask]
Sent: Sunday, 21 June, 2009 6:05:50 PM
Subject: 

Dear Gilly
An aspect of my research looks at the relationship between the (historic)
time in which a drawing is made and subsequent readings of the drawing,
which may (or may not) overlap with your subject.

How are you approaching memory/drawing?
Regards
Simon Grennan


On 21/6/09 16:32, "GILLIAN LACEY" <[log in to unmask]> wrote:



Dear Researcher,
 
I am researching memory and drawing,Is there anyone doing any similar
research?
Gilly Lacey








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