Writing: Trace and catharsis: Embodied drawing
For the past decade, my artistic research practice has explored the performative aspect of drawing. Recently, I have come to realize how the performative process can function as an experience of catharsis. By examining a selection of works from my practice, Cassils, Louise Bourgeois, Ana Mendieta and Tracey Emin, that exemplify the act of mark making through processes of encountering intense states of the body, ‘Trace and catharsis: Embodied drawing’ explores the concept of drawing as the residue of performance. I will investigate catharsis as a performative gesture in itself – the release of internalized distress through acts of externalization and exertion. This gesture – immediate, impulsive and compulsive in nature – draws a direct relationship to Aristotle’s notions of catharsis and the bodily manifestations of anxiety that Sigmund Freud describes. Through Amelia Jones’s and Catherine de Zegher’s ideas of mark making, I will examine how traces produced by this gesture can be performative in its materiality and evocation of the artist’s body.
Writing: Drawn-Out: trace and catharsis
Drawn-Out: trace and catharsis explores the act of encountering intense states of the body as an experience of catharsis. By re-creating and enacting intense psychological, emotional and physical states in performance art, artists may elicit a sense of empathy in the viewer or audience. Drawing from Aristotle’s notion of catharsis and Amelia Jones’ theories of performativity, this thesis investigates how the performative act or event has the potential to function as a form of catharsis for both artist and audience.
Writing: In the Zero of Form
In the Zero of Form investigates Hanna ten Doornkaat’s recent series of works in relation to Kasimir Malevich’s Black Square (1915). In the Zero of Form epitomises ten Doornkaat’s serial mark-making process as an act of compulsion that leaves her work ‘sitting somewhere in-between drawing and painting’.
Writing: Moving Marks
Moving Marks explores the intersection of drawing and performance art by reviewing different ideas and approaches to mark making presented at the Draw to Perform 3 Symposium at Crows Nest Gallery, London in July 2016. Curated by Ram Samocha, the theme of this Symposium, collaborations, lead artists to focus and reflect on the relationship between material, artist, body, space and audience.
Writing: Time trace: A drawn perception
If drawing is the trace of an action, and action is transitory, could drawing then exist as a perception of time in space? ‘Time Trace: a drawn perception’ investigates the tactility of the drawing discipline specifically within the context of performative practices. By examining the collaborative project, what remains and is to come by Katrina Brown and Rosanna Irvine, the article explores how artists activate the auditory and visual senses to discover the transitory space of past, present and future.
Writing: Drawing Abroad
Drawing Abroad brings together artists from London, Soul, Sydney and Brisbane whose drawing practices investigate the relationship between the hand, the material and the paper. Through Contemporary drawing practices the exhibition demonstrates the drawing medium as a tool for mapping out spaces and marking time whilst engaging with the tactile dialogue between the materials at hand.