The sensory modes of seeing and touching are brought together in the touch screen. These modes are also combined in the act of drawing. If seeing is a process of actively seeking out meaningful configurations (sometimes barely glimpsed), then drawing is a means of marking them in all their uncertainty, from a point of contact.
The figure/background structure produced in drawing can be reproduced digitally and made visible in multiple devices of display. Each time a figure is materially reconstituted as part of a device, its meaning is contingent on this specific context. In this artwork, the physical properties of smooth or cracked screens, and plastic or metal bodies, manifest histories of previous ownership and commercial imperatives of hardware design and manufacture. They show evidence of the social, economic and technological developments that have resulted in handheld devices acting as prostheses of embodied relationships.
Bringing together the work of several artists with differing practices Drawology aims to consider whether this premise is applicable to a specific process or genre of drawing or whether it is applicable to drawing generally.
In this respect the works in the exhibition represent an expanded field of contemporary drawing in a Fine Art context to include: works on paper, performance, moving image, installation, projections and three-dimensional drawings. The exhibition is part of a larger research project currently being undertaken by Deborah Harty entitled ‘Drawing is phenomenology’.
|Additional Information:||The artwork 'Marked Surfaces' was produced for Drawology, a group exhibition at the Bonington Gallery.|
|Schools:||School of Art, Design and Architecture > Creative Interdisciplinary Research Centre|
School of Art, Design and Architecture
|Event Location:||Bonington Gallery, Nottingham, UK|
|Event Dates:||18 Nov - 6 Dec 2013|
|Deposited By:||Juliet Macdonald|
|Deposited On:||07 Jan 2014 15:48|
|Last Modified:||07 Jan 2014 15:48|
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