forstillness

[forstillness]

Coming back here because it is a blog that doesn’t exist as part of my time as KSA....

Navigating and interrogating space. 

What is interesting me: the tension between precision of measurement and division and the real uses of the space that will come to be in flux as work is assembled and disassembled... the ways that we will contort our work and space around our neighbours will be less rigid, easily identifiable and controlled... and the workspaces will become more saturated with information...

This is definitely evolving out of my own discomfort and confusion re the start of term here... being out of my depth is making me crave some kind of non-resolution that starts with the walls and the floors... I spoke to Mom about this on the phone; I am asking questions back at the newness and the nowness which takes the shape of the studios... there is something about interrogating nothing, a non-history, an archive of paint drips and scribbled words and whited out, broken boards that becomes a sort of muted palimpsest of information, an archive of things left out, left behind... there is no hierarchy of information, no discrepancy between where somebody scratched into the wall with keys while waiting for a friend to go to lunch, and the remenants of final 

The workspace being the negative space of the gallery?

What if I return to the same spot and photograph in a month, once work is present in the space- from a distance or again- just walls...? - not sure 

[forstillness]

Drawing now is like tiptoeing. Before it was about making mistakes and then retreating. Now I am cautious.

I think this is because I became very focused on the conceptual in the period where I didn’t draw at all. For me, conceptual work is very frugal, hyper-aware and all about restraint. The mental arithmetic that comes with the set up is invigorating to me. It is full of life. Everything is important. It’s all about organisation. How you allow something to come forward by pushing other things back, how you move information, how you make deals.

When I came back to drawing, everything had opened. 

I meant this visually - lines and shapes weren’t closed. Less attention was given to borders, to closing down a composition. There were more allowances for the outside to come in.

I think of it as though I had moved naturally into drawing with a conceptual mindset. I had translated that way of thinking into drawing, and I had begun to move more slowly, to consider everything more. It was more intense. The exchange between restraint an release is now in total disarray. Allowing it to be about expending energy, to be fast and sudden; then restraining it, controlling it, surrounding it. They interchange.