fourth year paper version 2.0 still rough
Posted by Jona8than | Labels: art, essay, in progress, paper, research, writing | Posted On Sunday, March 23, 2008 at 6:59 p.m.
The tie clip is a response to an event in my life; the drawing bring the words meditated passion to mind. I choose this specific object because it had personal meaning to me, but I felt it could communicate to others as well by drawing it. I drew this object existing in a neutral space, perhaps more of an empty space to me. I divided this space with the use of a horizon line, and perspective lines.
The tie clip is an object with social and cultural meaning to it, it is an object of restraint but yet also one of flourish. The ability of restraint is also seen as part of the flourish, the ability to restrain one’s self. The ties with its phallic connections play in to this.
Drawn in a realistic manner, from life, and surrounded it by a large mass of charcoal, the item has been marked with tape so it would not interfere with the drawing of the clip. The clip is surrounded with this greyness, to create a surface around the clip that is indeterminate and imposing, to equate it with death. The tie clip exists without the tie, so there is loss and inability to function. The desire for death is often equated for the desire of sex, and
I have the object with perspective lines going from it to two vanishing points, the perspective lines do not match up to the object and are done so really to just acknowledge the vanishing points.
The finger trap drawing is that of a finger trap in the empty or neutral space, hovering in the space and the drawing is split through the middle by the seam of the paper. Perspective and the horizon lines exist in the top of the drawing.
This object of the finger trap is a trick device, where you are trapped by your fingers, and when you try to haul or pull yourself out of, you only get more trapped, the trap tightens. The only way out is to push further in, and let go. The finger trap is made of pieces of bamboo, braided together; bamboo is often seen as a symbol of longevity. The split acts in this case as
The finger trap is a joke, not intended as a restraining device or such. It is an example of how one cannot escape something through
The next drawing is that of welding goggles, surrounded by space and the goggles are split by the connection of the paper. On one side of the paper split, the lens is cracked. There is a slight shadow in front of the lens.
This object has industrial context in that it is used for protection from the bright light of metal cutting. They protect you from seeing the light. One of the lenses is cracked, which would allow some light to get in. This object also appears in post apocalyptic media often as a fashion object. What I was trying to do with the paper split here is show the object in it’s entirely, but showing a shift in the perception of it. By being broken on one side, and on the other side of the split, the perception of the object and its meaning is changed.
The drawing of the hammer head is drawn in the upper half of the sheet, with a long light grey shadow coming from it downwards, and perspective lines leading to a vanishing point.
The hammer head is a found object, was found with no handles. In a way it is decapitated, and remain useless. All it takes is a new handle, but till then it just lays there. Invest it with small, localized narrative through the use of the shadow and the perspective lines.
The drawing of the arctic explorers (incomplete) is that of a drawing in space, horizon and perspective lines in the space around it. This image is that of five explorers at what they thought was the North Pole, from the Peary Expedition. The drawing is erased; some of the explorers are erased as well as some of their surroundings.
This image is a found image, that I used for it reminded me a quote from the book The Underpainter by Jane Urquhart. To paraphrase, a character mentioned his “own interior Arctic”. I wonder whether it was easier to cross the real Arctic or one’s own, do you think you reach your destination when like Peary’s you are a ways off still. The drawing of the image shows loss through the selective erasure of the elements in it.
I approach my drawings, by finding an object or found imagery, and through drawing process to invest it with meaning. The objects and imagery have personal connections to me, whether they be a part of my life, were a part, or come from an area of interest.
The tie clip is an object with social and cultural meaning to it, it is an object of restraint but yet also one of flourish. The ability of restraint is also seen as part of the flourish, the ability to restrain one’s self. The ties with its phallic connections play in to this.
Drawn in a realistic manner, from life, and surrounded it by a large mass of charcoal, the item has been marked with tape so it would not interfere with the drawing of the clip. The clip is surrounded with this greyness, to create a surface around the clip that is indeterminate and imposing, to equate it with death. The tie clip exists without the tie, so there is loss and inability to function. The desire for death is often equated for the desire of sex, and
I have the object with perspective lines going from it to two vanishing points, the perspective lines do not match up to the object and are done so really to just acknowledge the vanishing points.
The finger trap drawing is that of a finger trap in the empty or neutral space, hovering in the space and the drawing is split through the middle by the seam of the paper. Perspective and the horizon lines exist in the top of the drawing.
This object of the finger trap is a trick device, where you are trapped by your fingers, and when you try to haul or pull yourself out of, you only get more trapped, the trap tightens. The only way out is to push further in, and let go. The finger trap is made of pieces of bamboo, braided together; bamboo is often seen as a symbol of longevity. The split acts in this case as
The finger trap is a joke, not intended as a restraining device or such. It is an example of how one cannot escape something through
The next drawing is that of welding goggles, surrounded by space and the goggles are split by the connection of the paper. On one side of the paper split, the lens is cracked. There is a slight shadow in front of the lens.
This object has industrial context in that it is used for protection from the bright light of metal cutting. They protect you from seeing the light. One of the lenses is cracked, which would allow some light to get in. This object also appears in post apocalyptic media often as a fashion object. What I was trying to do with the paper split here is show the object in it’s entirely, but showing a shift in the perception of it. By being broken on one side, and on the other side of the split, the perception of the object and its meaning is changed.
The drawing of the hammer head is drawn in the upper half of the sheet, with a long light grey shadow coming from it downwards, and perspective lines leading to a vanishing point.
The hammer head is a found object, was found with no handles. In a way it is decapitated, and remain useless. All it takes is a new handle, but till then it just lays there. Invest it with small, localized narrative through the use of the shadow and the perspective lines.
The drawing of the arctic explorers (incomplete) is that of a drawing in space, horizon and perspective lines in the space around it. This image is that of five explorers at what they thought was the North Pole, from the Peary Expedition. The drawing is erased; some of the explorers are erased as well as some of their surroundings.
This image is a found image, that I used for it reminded me a quote from the book The Underpainter by Jane Urquhart. To paraphrase, a character mentioned his “own interior Arctic”. I wonder whether it was easier to cross the real Arctic or one’s own, do you think you reach your destination when like Peary’s you are a ways off still. The drawing of the image shows loss through the selective erasure of the elements in it.
I approach my drawings, by finding an object or found imagery, and through drawing process to invest it with meaning. The objects and imagery have personal connections to me, whether they be a part of my life, were a part, or come from an area of interest.
