From images of the mind to seeing
Now that the final assignment work is finished I’m starting to gather up the threads of the parallel project. As I’ve said in my other course work posts, the parallel project topic of Abstraction has been a dominant thread throughout Part 5. In project 1 – A Changing Scene – the sense of movement and its link with time stimulated abstract images and gave rise to questions about the movement of thought and its contrast with the stationary figure. Two pieces of work came out of this as well as the development of new concepts and images for the final assignment images – all abstract!
Project 2, on the making of a book, allowed me to pick up on ideas from Project 3 in Part 4. This project had focused on space and the dialogue with a space which a drawing can have. This project had become very personal for me and was my first experience of the intimacy of a space and its relationship to the passing of time. I was able to explore these ideas more deeply in the book format and again, became a further exploration of abstraction.
Project 3 – A finer focus – again allowed me to explore the incredible landscape which exists in small areas on the skin of a fruit. This has opened up ideas about the minute details of the visual world which exist to be explored…once again, abstraction.
Project 4 – Time and the Viewer – also gave me the opportunity to delve further into an abstract image from my daily diary and create a piece which would be interesting enough for the viewer to want to spend time with.
Then the final assignment work embraced the whole module and became a record of the changing lines of thought which occur over a period of time.
So, in a way, this whole section of work from Part 5 has been about my parallel project. I’m finding that abstraction is becoming the way I think and see the world. Up to this point I’ve concentrated mainly on emotional responses through the work in the daily diary. This has been invaluable in stimulating new marks and raising my confidence in my own personal voice.
I want now to move on from emotional responses to explore links with abstraction and the visual world. Tara Geer wrote, in ‘Thinking through Drawing: Practice into Knowledge – an exhibition accompanying an interdisciplinary symposium on drawing, cognition and education – 2011- “The world is strange and beautiful and full of awe. For me, drawing is about piercing apart all the named, known objects around me; teasing them into a pure meaningless visual field. Not window, table, wall, hand, but fat oily lines, shivering, hairline cracks, darkness…” (Page 50 – ‘What we illustrate when we draw: Normative visual processing in beginner drawings, and the capacity to observe detail’ )