The gesture within matter: drawing through material

物质内的姿态：通过材料进行绘画

• 批准号: 2606323
• 金额: --
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2606323
• 关键词: gesture; within; matter; drawing; through

My primary research question asks to what extent drawing is matter? If matter itself can perform the actions of drawing, what does this mean for drawing as an art practice? I aim to respond to and take further the provocation that drawing can be within matter; that drawing is matter. I arrived at this position through Karen Barad's theory of intra-action within matter, an iterative becoming within material, and the New Materialist removal of the binary distinction between the human and nonhuman. This discourse reinforces the idea that the gesture of drawing can derive both from human activity and from the material itself. The research I propose will concentrate on the effect of materiality on an essential language of drawing; how this can shift both the concept and physicality of drawing. The focus will be on the doing of material. In using this stance as a position from which to develop my artistic practice and produce new work, I will investigate the form that drawing can become when we recognise the ability of matter to perform the tropes of drawing. In pursuing the assertion that drawing is matter, this opens up questions about the agency of materials, that drawing is not an autonomous activity but one that takes place within and amongst materials.The research topic sits at the intersection between drawing and New Materialism. The project will require me to develop an original vocabulary of drawing that I anticipate will fluctuate throughout the course of the research. Current New Materialist discourse will feed into a conceptual framework for drawing, making the research timely both through this unfolding theoretical underpinning, and the recent re-focusing on drawing practice and re-evaluation of this medium. This shifting framework will be a catalyst for an idiosyncratic practice, being experimental and exploring active material gestures. The research embarks from and builds on a recent renewed celebration of drawing as a medium in its own right, rather than as a precursor to painting or sculpture. This is exemplified by the current show at the British Museum, 'Pushing paper: contemporary drawing from 1970 to now', the first exhibition at the museum dedicated solely to the genre, and highlights how artists are actively pushing of the boundaries of what drawing can be, with expanded practices that question its relationship with language, sculpture and moving image. My research project aims to take on board both the historic notions of drawing and the more recent questioning of the medium, to apply to a reflexive making process that will work in conjunction with the matter and material of drawing. My project will offer an original contribution to the field of contemporary drawing practice and research, specifically adding to the emerging field of New Materialism and visual art. The research open up the activity of drawing to materialist thinking, the coming into being of the drawing as the area of questioning, removing the binaries of maker and passive matter and seeing drawing enfold from and within matter itself. Marsha Meskimmon and Phil Sawdon, in Drawing Difference: Connections between Gender and Drawing, touch on this principle of material transformation within drawing, using Karen Barad's concept of intra-action to observe the act of becoming in drawing based on the productive encounter of materials. My project takes this on and aims to pursue this key idea in greater depth and develop this concept through practice in order to gain new knowledge about how such a practice can manifest. I will draw from the practices of Edith Dekyndt and Anna Barriball, and those whose work addresses medium as concept such as Sara Barker and Dan Shaw-Town

我的主要研究问题询问绘画在多大程度上重要？如果物质本身可以执行绘画的动作，那么这对艺术实践意味着什么？我的目标是回应并进一步挑衅，即绘画可以在物质之内；该图很重要。我通过凯伦·巴拉德（Karen Barad）在物质内部的内部行动理论到达了这个位置，一种迭代的材料中，以及新的唯物主义者对人类和非人类之间的二进制区别的去除。这种话语强化了这样一个观念，即绘画的手势可以从人类的活动和材料本身中得出。我提出的研究将集中于重要性对绘画基本语言的影响；这如何改变绘图的概念和物理性。重点将放在材料上。在利用这种立场作为发展我的艺术实践并制作新作品的位置时，我将研究绘画的形式，当我们认识到物质执行绘画的能力时。在追求绘画是重要的断言时，这打开了有关材料代理的问题，该图不是一个自主活动，而是发生在材料内部和材料之间的一种。研究主题位于绘画与新唯物主义之间的交集。该项目将要求我开发一个原始的绘画词汇量，我期望在整个研究过程中会波动。当前的新唯物主义话语将融入一个概念框架中，以绘制绘画，通过这种不断发展的理论基础以及最近重新关注该媒介的绘画实践和重新评估。这种转移框架将是一种特质实践的催化剂，是实验性和探索主动物质手势的催化剂。这项研究从本身就是一种媒介的媒介而不是作为绘画或雕塑的先驱开始，并建立在最近的重新庆祝绘画的庆祝活动中。当前在大英博物馆的展览“推出论文：1970年至现在的当代绘画”的当前展览所举例说明了这一点，这是博物馆的第一个展览，专门专门针对该类型，并突出了艺术家如何积极地推动与语言，雕刻和动态图像的关系质疑的绘画界限的界限。我的研究项目旨在培训历史性的绘画概念和最新的媒介质疑，以适用于反身制造过程，该过程将与绘画的问题和材料结合使用。我的项目将为当代绘画实践和研究的领域提供原始贡献，特别是增加了新的唯物主义和视觉艺术领域。这项研究为唯物主义思维的绘画活动开放了绘画的活动，即作为询问领域，消除了制造商和被动物质的二进制问题，并看到物质本身和内部的绘画。 Marsha Meskimmon和Phil Sawdon，《绘图差异：性别与绘画之间的联系》，触摸了绘图中材料转换原理，利用Karen Barad的插入概念来观察基于材料的生产性接触而成为绘画的行为。我的项目采取了这种方式，并旨在更深入地追求这一关键思想，并通过实践发展这一概念，以便获得有关这种实践如何表现的新知识。我将从Edith Dekyndt和Anna Barriball的实践中汲取灵感，以及那些将媒介介绍为Sara Barker和Dan Shaw-Town等概念的人