Drawing into Painting - Project AM 730 - Proposal Update

 Below is an outline of the proposal for the drawing project, AM739 - alongside this documentation is the image,  'Rooted Elsewhere', 2014 which provided the platform for what was to become a national/international interdisciplinary - drawing and painting in an expanded field inquiry. My original intention was for this project to travel - evolving and dissolving on its journey, wherever that may be. So far the project will be travelling to Melbourne where I take up the artist in residence [November] position at Boxhill Community Art Centre this year. My hope is for this project to travel further afield to Scotland - I have applied for another residency at Hospitalfied, which would allow the project to reinvent itself within a Scottish culture context -I am excited about how this transnational opportunity would impact the works material and aesthetic identity. Fingers crossed that the project makes the grade -  plan B is to go to Scotland anyway - and do a short term studio rental - but lets see what happens.

Drawing into Painting #1 ‘Rooted Elsewhere’, Charcoal, Graphite, Gesso and Oil Paint on Khozo Paper, 180x157cm, 2014.

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​Question: As a global contemporary phenomenon, migration can be said to a transient – cross cultural and dis-placing experience. Given this, how can the artist recreate ‘drawn’ spaces of intersection that capture felt experience, the flow and mobility of movement that considers the influence of the ‘local’ and its material identity as a ‘modal of expression’ and explains a sense of belonging.[1]
 
Summary of Content:
 
Project Title:  AM 730.
 
Subject Matter: Migration.
 
Context: Fieldwork – A Personal Exploration of Movement between Space and Place.
 
Methodology:  Multi-Disciplinary  - Intuitive.
 
Concept: Translation – Felt Experience.
 
Media: Drawing – Printmaking – Painting –
 
Medium: Wet and dry, traditional and non-traditional mediums and technologies.
 
Materials: A combination of man/hand-made/organic and everyday drawing materials. Including but not exclusive too: graphite – charcoal - cotton thread – muslin - khozo paper – linen – plaster – wax - bubble wrap - paint and pigment.
 
Visual Concept: Develop Patterns and Systems.


[1] Nikos Papastergiadis, http://www.artsjournal.com/culturegrrl/200606lee_rosenbaum-html, Sage online Journal, January 16, 2016, 11.20am, Abstract.
 
The drawing project, Am 730 is a process driven investigation that examines the artist’s movement between place and space [Scotland and Australia], to find a modality of belonging [or not] through the act of drawing that considers the implicit nature one’s everyday ‘locality’ and the material data that resides therein.
 
A primary aim of the projects artistic research is to deconstruct the material qualities of the traditional drawing surface and in doing so develop new material methodologies that speak of artistic practice and production in the context of research. In terms of studio practice the activity of drawing forms as a living process that influences visual knowing, which, through an experimental and interdisciplinary approach to drawing, new spaces of negotiation are revealed.
 
The project’s pictorial objective is to engage in fieldwork to explore new material possibilities that link concept and process to the development of a series of works [in progress] that are reflective of the artists evolving and dissolving relationship with form and space. Translating space as felt experience in this instance plays a vital role in shaping the drawings surface identity that then informs forms the ‘aesthetic form of knowing’.[1]
 
Aims and Objectives:
 
Deconstruct the material qualities of traditional spaces of negotiation, the drawing surface to develop new material methodologies.
 
Record the differences between drawing inside and outside of the studio environment.
 
Record how the local and everyday space and place of the residency/landscape impacts the drawing process.
 
Employ visual/ sensory modalities that link the role of materiality to the process and practice of drawing.
 
Pursue a tacit approach to ‘drawing’ that questions the history, tradition and practice of drawing to explore new possibilities that contribute to expanding meaning and understanding.
[1] Graeme Sullivan, ed., Art Practice as Research: Inquiry in Visual Arts, Sage Publications, 2010, California, p42. 

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