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Thanks to Lucy for bringing the work of Morgan O'Hara to my attention - they are wonderful drawings. I also work with the traces of movement, recently I have set up installations using live video, projection and rice paper drawing screens that act as a barrier between the audience and me. My marks trace and follow the movement of people as they pass by and are often created in a public place - so the connection between the mover and the artist becomes of more importance than the marks made. Have a look at my a-n blog for images of the work on rice paper - http://www.a-n.co.uk/artists_talking/projects/single/1492785 and my website (below) for other works that deal with trace and movement. Thanks to Peter for highlighting the Berger passage - i've bookmarked it in my copy for re-reading. Kind Regards Claire. Claire Weetman 07714 766 132 [log in to unmask] @claireweetman www.claireweetman.co.uk > Hello there, > > > > I would like to add a suggestion to this thread and then ask for suggestions > in return. > > > > I am planning a workshop on the idea of the trace. I mean the trace in the > sense of tracing movement, action or time. Or that drawing might be the > leaving of a trace. > > So far, I have some activities where my class will draw the movement of my > hands as I move them in patterns in the air, and then draw from videos of > other actions, like the hands of a conductor as he conducts an orchestra, > linking their hands with his. These ideas come from the work of Morgan > O'Hara, www.morganohara.com. It is a kind of drawing with no subject, or > drawing that is a recording rather than representation. > > > > I hope this adds to the list of 'divergent drawing exercises', but does > anyone have any ideas as an extension to this, as I seem to have hit a bit > of writer's block? > > > > Lucy