PART 4: Project 3: INSTALLATION
Make a drawing that relates to its environment in a way that creates an interesting dynamic between the artwork and the space around it. Think about ways that drawings could take part in a kind of dialogue with the space they inhabit.
I found this project a very interesting research area and it broadened my view of what an installative drawing is. I looked at the exhibition of contemporary drawing in the On Line exhibition and really enjoyed the exploration of line in the work. I also looked at the work of Edward Krasinski. But it was the research into Pierrette Bloch which was the most interesting for me. (see Research posts)There were many aspects of her work which I enjoyed.
… the quietness of the images
…the connection with time which the images had
…the use of horsehair and the effect of the strands as they extended out into the space
…the sense of isolation
As I began this project I had a lot of images in my mind, particularly the work of Pierrette Bloch, and I wanted to get to know her work better by working with some of the ideas which I‘d researched. I also had in my head the images from the first project on drawn images from nature. Those images had culminated in a drawing about ‘time’ and I wanted to continue exploring this idea some more. The photos from nature had included several about shadows and reflection and I wanted to include these ideas in the installation.
Before researching for this project I had always thought of installations as akin to sculpture. But from my reading I began to consider installative drawing as drawing which expanded the space and which positioned the viewer within the context of the drawing space. I hope I haven’t got this wrong but whether I have or not, it is the idea which I have pursued in this piece of work.
So – my starting point was to push further with the ideas about ‘TIME’ which began in Project 1. From my research on Pierrette Bloch, Richard Tuttle and Gego, I explored materials of wire and frayed fabric.
The frayed nylon fabric gave me the tiny random hairs similar to the horse hair. The wire was explored in the context of Richard Tuttle’s drawings with wire where he talked of the unknown outcome of the wire. I was searching for a way to express the ambiguity of time – randomness as well as predictability – and to build this into an installative drawing.
I decided to draw with the fabric, cut in strips and frayed. I experimented with different compositions in space, thinking about a dialogue with the space. I also wanted to incorporate the concept of time as being something beyond touch, as ‘out there’, continually changing and reforming around the individual.
I went back to the images of shadows which I’d explored in the first project. This required a light source from the space but I needed one which moved.
This brought in the viewer, not as someone simply looking at the image but as someone who was directly involved in the making of the image. As everyone has a mobile phone with a torch on it, I decided to explore what would happen to the drawing when the viewer turned on his mobile torch and moved around the image. This brought about an interesting dialogue between the viewer and the image. The viewer became the originator! Because I wanted the maximum space felt at the sides of the drawn image for the shadows to move, I placed the fabric drawing in the centre of the sheet. Therefore the composition is only finished when the viewer uses the torch to produce the shadows of the installative drawing.
There are some beautiful line drawings created from the light source and each time I look at the image I find more. It’s interesting the way so much of the work in Part 4 has come together in this exercise. I am doing a great deal of reading in preparation for the parallel project on abstraction and so many of the ideas are feeding into each exercise.