An intense need to create something and escape the body overwhelms me.
Movement manipulates a line of graphite to the rhythm of music where ‘kinesthetics of the body determine the outcome’ (Butler 1999: 97).
[Eyes closed I listed to the music. Become the music, the spaces in between. Within seconds the line of graphite has been obliterated; molded; shaped; smudged; dragged. For a moment there is a sense of freedom and abandon. I see this translated here, in the movement of the marks; the physical body gives way to something lighter, beyond consciousness. The memory of the experience is manifest – primitive and tribal. No longer trapped within this physical body.] (Taken from notes on process)
The river rolls back on itself as I consider once again the early works that Twombly made in the dark and the visceral qualities within my own responses. I have also become seduced by Robert Morris’s Blind Time drawings (1973-2000) and the process of relinquishing control, in the attempt to ‘distance authorship and ego’ (Butler 1999: 97).
Robert Morris, from series Blind Time IV (Grief), 1991
There are traces of our actions all around us, an unconscious cacophony of marks, gestures and rhythms imprinted on the objects of our days. An example of this can frequently be seen within the dust and oil on and around the doors at the back of vans where a history of fumbling and prizing is revealed. Some of these instinctual, unconscious marks are often only made apparent in particular light and reflection. It is this that I have tried to capture in the drawing iPad I (below).
Butler, C H (1999) AFTERIMAGE: DRAWING THROUGH PROCESS The MIT Press