Display Images from the Solo Project "Let's Proceed in Parts"
Notes on Movement: Linear Drawing 1
Suite of 4 Drawings
2012
Graphite on Fax Paper Roll
Notes on Movement: Linear Drawing – I is a large-scale linear drawing made with graphite onto a white, continuous four separate fax paper scroll. Whereas the exhibition copy was drawn on a mylar roll. Extending to an approximate of hundred feet in length, the drawing was comprised of four parts. Rather than presenting a static image, the work explored drawing as an index of duration. Beginning with a base composition in a horizontal field, the drawing gradually rotates frame by frame, where three distinct frames- right angle, vertical, and left angle become the starting frame for the other three respective drawings. Pivoting from the original frame, each of the three drawings follows its own trajectory before eventually returning to the same frame from which it initially began, creating a series of self-contained yet continuously mutating loops. Situated within the parallelly running frames of 21 x 21 centimetres, it appears as if each line went on its own separate journey within each subsequent section.
The work encompassed a frame-by-frame animated movement within, which was not immediately visible from a stationary position. Instead, the shifting relationship between successive frames became perceptible only as the viewer physically moved past some frames, walking forward and backwards to register a sense of what was unfolding. This movement alongside the continual scroll activated gradual visual transitions between its linear states, thereby producing a contradicting effect between stillness and movement, an enquiry that the work primarily delves into. Rather than a conventional relationship where a video composition or its components are in a constant flux while the viewer remains still along with the screen, the drawing here remains materially static while the body becomes central to activate the very work that is produced through a constant act of looking. And thereby reversing the very performative gaze. Here, the body navigating through the architectural space becomes a deliberate mechanism through which the inherent movement within the drawing is subsequently revealed.
