work in progress

I've been trying automatic drawing, trying to draw the purest drawing I can, not 'of' anything, just turning my head and looking away from the paper, feeling the edges of the paper and not thinking about the drawing at all, a joyous morning exercise.

Made a series of spontaneous artworks yesterday- by which I mean, I put a bunch of materials on my desk (wax crayon, charcoal, ink, graphite, felt pens, water soluble pencils and crayons, carbon paper and white acrylic paint) and worked quickly onto A3 paper, with the aim of filling the pages, right up to the edges.

The drawing matter picked up the texture of the table and the newspaper layer between the table and the page. I used bunches of pens and pencils to fill the page as quickly as possible. I made marks indiscriminately.

Sometimes I wrote words, whatever came to mind, phrases I've used in artworks before, or new things that just came out.

Thinking about:

-automatic drawing and writing (surrealist technique)

-amassing a body of work - creating quantity and not obsessing about quality, as this inhibits me SO much

My definition:

A book exists in the physical realm.

A book has a narrative.

A book requires touch.

When the ink runs out

When the paper runs out

When the screen gets blocked

When the ink goes brown

When the time runs out

The edges of paper

The edges of the screen

Earth Body: really interesting outcomes here

Solid Sense of Self: misregistered lips which then kept using – interesting. Then re-did. Using different blue layer (squiggles rather than icons); asemic writing – guessing the tone based on the nature of the marks.

The finality of the expressive mark. Love the idea of the expressive mark being an ending and a beginning for the next stages – acting as if the mark was the first stage of a new recipe.

Folding experiments are effective; consider how to photograph these effectively as art objects.

Good direction with defining or not defining a book – it’s a book because I say it’s a book.

Ideas for presenting the work – putting prints together in a loose leaf manuscript type way / portfolio. How do you make this an artwork?

TASKS

Choose which pieces of work do you want to keep as standalone prints

Which do you want to combine/adapt?

How will you showcase the work in a format that elevates it into ‘the artwork’?

Explore how different ways of documenting the work change the perception of the work for you and for peers / others; speak to Photography team for help / studio access etc.

For next week, make decisions about how you’ll use the word count

For next week, examples of elevated photography of the work

"Instrument that record, analyse, summarise, organise, debate and explain information that are illustrative, non illustrative,hard bound paper bag jacketed, non jacketed, with forward introduction table of contents, index that are intended for the enlightenment, understanding, enrichment, enhancment and education of the human brain through sensory route of vision... some times touched"

Deleuze and Guattari have given a quite long description of the rhizome which could be outlined like this (Deleuze & Guattari, 1987): 1 and 2. Principles of connection and heterogeneity: any point of a rhizome can be connected to anything other, and must be. This is very different from the tree or root, which plots a point, fixes an order. (p. 7)

Principle of multiplicity: it is only when the multiple is effectively treated as a substantive “multiplicity” that it ceases to have any relation to the One as subject or object, natural or spiritual reality, image and world. (p. 8)

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