DRAWING WONDER:
A Phenomenological Investigation
into Site-Specific Drawing
A Phenomenological Investigation
into Site-Specific Drawing
Day 3 ‘Drawing Wonder’ III, detail, chalk, algae and sea water on concrete structure, Dunmoran Strand, Sligo, Ireland, 27th July 2019.
‘Drawing Wonder’ is one of nine successful projects selected for Project Anywhere’s highly competitive 2019/20 Global Exhibition Program. Project Anywhere is a global blind peer reviewed exhibition program dedicated to art and artistic research at the outermost limits of location-specificity. Project Anywhere is neither an online exhibition nor a journal. It is instead a vehicle for illuminating artistic projects located outside traditional exhibition circuits. Project Anywhere is perhaps best imagined as an exhibition comprising the entire globe in which the role of curator is replaced with a blind peer evaluation model.
The project titled Drawing Wonder: A phenomenological investigation into the Site Specific Drawing examines how site specific drawing has the capacity to create a sense of wonder in order to call attention to the ontological relationship between the subject [drawer and viewer] and the object [drawing] and the site. ‘Drawing Wonder’ is one of nine successful finalists for Project Anywhere’s highly competitive 2019/20 Global Exhibition Program. Project Anywhere is a global blind peer reviewed exhibition program dedicated to art and artistic research at the outermost limits of location-specificity. Kiera will present the Drawing Wonder project at the 4th biennial conference at Parsons Fine Art in November 2020 and following this biennial conference, contribute to the biennial book Anywhere IV.
This ongoing project titled Drawing Wonder: A phenomenological investigation into the Site Specific Drawing examines how site specific drawing has the capacity to create a sense of wonder in order to call attention to the ontological relationship between the subject [drawer and viewer] and the object [drawing] and the site. To awaken a deep sense of wonder in the viewer, the drawer must first be filled with wonder and be empathetic to the lived experience of the site (Merleau-Ponty, 2005; van Manen 2014).Therefore, there were no preparatory drawings on any of the four drawing days. Rather, after observing the site and sensing the environment until a bodily experience called my attention, I began drawing directly onto the surface of the site while continuing to being open and receptive to the phenomena of the drawing material, the surface, the site and walkers. By taking this phenomenological attitude in wonder, the drawings became a device for perceiving and understanding aspects of the site as it appeared.
Project Anywhere is proudly supported as part of a partnership between the Centre of Visual Art (University of Melbourne) and Parsons Fine Art (Parsons School of Design, The New School). 'Drawing Wonder' is supported by Sligo County Council.
The project titled Drawing Wonder: A phenomenological investigation into the Site Specific Drawing examines how site specific drawing has the capacity to create a sense of wonder in order to call attention to the ontological relationship between the subject [drawer and viewer] and the object [drawing] and the site. ‘Drawing Wonder’ is one of nine successful finalists for Project Anywhere’s highly competitive 2019/20 Global Exhibition Program. Project Anywhere is a global blind peer reviewed exhibition program dedicated to art and artistic research at the outermost limits of location-specificity. Kiera will present the Drawing Wonder project at the 4th biennial conference at Parsons Fine Art in November 2020 and following this biennial conference, contribute to the biennial book Anywhere IV.
This ongoing project titled Drawing Wonder: A phenomenological investigation into the Site Specific Drawing examines how site specific drawing has the capacity to create a sense of wonder in order to call attention to the ontological relationship between the subject [drawer and viewer] and the object [drawing] and the site. To awaken a deep sense of wonder in the viewer, the drawer must first be filled with wonder and be empathetic to the lived experience of the site (Merleau-Ponty, 2005; van Manen 2014).Therefore, there were no preparatory drawings on any of the four drawing days. Rather, after observing the site and sensing the environment until a bodily experience called my attention, I began drawing directly onto the surface of the site while continuing to being open and receptive to the phenomena of the drawing material, the surface, the site and walkers. By taking this phenomenological attitude in wonder, the drawings became a device for perceiving and understanding aspects of the site as it appeared.
Project Anywhere is proudly supported as part of a partnership between the Centre of Visual Art (University of Melbourne) and Parsons Fine Art (Parsons School of Design, The New School). 'Drawing Wonder' is supported by Sligo County Council.
Site: Dunmoran Strand, Sligo, Ireland
DAY ONE
29th June 2019 (APPROX.7.30AM- 11.30AM)
29th June 2019 (APPROX.7.30AM- 11.30AM)
’Drawing Wonder I’, chalk, algae and sea water on concrete structure, Dunmoran Strand, Sligo, Ireland, 29th June, 2019.
The site of two large bulwarks were chosen because it provided a sense of wonder and it is also popular walking area. There is a 30 minute walk to reach the concrete bulwarks at the end of Dunmoran Strand which is surrounded by the Ox Mountains and farmlands.
The site of two large bulwarks were chosen because it provided a sense of wonder and it is also popular walking area. There is a 30 minute walk to reach the concrete bulwarks at the end of Dunmoran Strand which is surrounded by the Ox Mountains and farmlands.
DOCUMENTATION OF 'DRAWING WONDER I' PROCESS DAY 1
Materials
Chalk, algae powder mixed WITH FRESH SEA WATER. THESE MATERIALS ARE ENVIRONMENTALLY safe. The Fossils are embedded in the Carboniferous rocks dating FROM 359 TO 299 MA AGO. THESE FORMED THE BASIS FOR THE INITIAL DRAWINGS ON DAY 1 / DAY 2.
Drawing process
Throughout the drawing process, the chalk continually broke on the rough concrete surface and quickly replaced by new sticks of chalk. This act of interruption impeded the flow of marking marks. Each mark informed the next while recording as aspect of the perceptual experience of the site. My awareness shifted from making marks to the environment to marking marks with the environment as a background (Harty, 2015, p.56).
'Drawing WONDER I',End of Day One
‘Drawing Wonder II’ was drawn on the same day as ‘Drawing Wonder I’. THE LIGHT GREEN ALGAE IS NATURALLY FORMED. This drawing is open and embedded in its environment and therefore calls attention to the site and surrounding area.
UPON REFLECTION OF ‘DRAWING WONDER I’, I WAS DISSATISFIED WITH THE DRAWINGS AS THEY ARE CLOSED UNTO A WORLD OF THEIR OWN. I DECIDED TO RETURN TO THE SITE AFTER A FEW WEEKS WITH NO PLANS OR PREPARATORY DRAWINGS BUT A FAINT AWARENESS OF THE DRAWINGS BEING OPEN AND EMBEDDED IN THEIR ENVIRONMENT.
Left to right, ’Drawing Wonder I’, Drawing Wonder II’. chalk, algae and sea water on concrete structure, Dunmoran Strand, Sligo, Ireland, 29th June, 2019.
DAY TWO
30th June 2019
30th June 2019
Documentation of the drawings after 24 hours. The sea washed part of the algae to reveal ghost lines of the chalk drawings.
Documentation of the drawings after 24 hours. The sea washed part of the algae to reveal ghost lines of the chalk drawings.
Documentation of the drawings after 24 hours. The sea washed part of the algae to reveal ghost lines of the chalk drawings.
DAY THREE
27th July 2019
27th July 2019
The rocks were previously covered by sand and were revealed through sea erosion. The lines in the rocks informed the line drawings on the concrete structure
'Drawing Wonder III’, chalk, algae and sea water on concrete structure, Dunmoran Strand,
SLIGO, IRELAND, 27TH JULY, 2019
SLIGO, IRELAND, 27TH JULY, 2019
‘Drawing Wonder VI’, chalk, algae and seawater on bulwark, Dunmoran Srand, Sligo
Drawings after 4 hours. ‘Drawing Wonder III’ &’Drawing Wonder IV’, chalk, algae and
SEAWATER ON BULWARK, DUNMORAN SRAND, SLIGO, IRELAND, 27TH JULY, 2019
SEAWATER ON BULWARK, DUNMORAN SRAND, SLIGO, IRELAND, 27TH JULY, 2019
DAY FOUR
28th July 2019
'Drawing Wonder IV, algae and seawater on concrete structure
28th July 2019
'Drawing Wonder IV, algae and seawater on concrete structure
DRAWING WONDER:
A PHENOMENOLOGICAL INVESTIGATION INTO SITE-SPECIFIC DRAWING
Key Words: Site-Specific Drawing, Phenomenology, Wonder,
This proposed practice research project titled: Drawing Wonder: A phenomenological investigation into the Site Specific Drawing, examines how site specific drawing has the capacity to create a sense of wonder in order to call attention to the ontological relationship between the subject [drawer and viewer] and the object [drawing] and the site. A phenomenological lens provides the philosophical context for this inquiry that is situated within the field of drawing research and practice. This project potentially contributes to drawing research through the concept of Holding Space which is posited as a practice research methodology that examines how marks are created through drawing as phenomenology and it’s relationship to site specific drawing. Drawing is understood phenomenally and as such, drawing has the capacity to bring forth the essence of an phenomena to allows us to know the world differently by grasping the world through felt experience (van Manen 2007, 268-271). That is to say that drawing has the capacity to describe and bring into view the felt and liminal experiences of the site and of the drawing.
The theoretical considerations within this research project draw upon core phenomenologists who consider phenomenology, art and wonder; Martin Heidegger’s account of the ontology of art and his position on wonder, art and truth (1950, 1994), Max Van Manen’s account of a 'phenomenology of practice’ where meaning is found in wonder (2014) and Maurice Merleau-Ponty’s account of embodiment, perception and the flesh (1968, 2005). Merleau-Ponty writes that we find the true meaning of phenomenology within ourselves (Merleau-Ponty 2005, viii). Therefore, to awaken a deep sense of wonder in the viewer, the drawer must first be filled with wonder and be empathetic to the lived experience of the site (Merleau-Ponty, 2005; van Manen 2014). By taking a phenomenological attitude in wonder, drawing becomes a device for perceiving and understanding the world as it appears. Particular sites were chosen only if they provided a sense of wonder and located on or near public walking areas. The project seeks to test prior investigations of site specific drawing by omitting the initial drawing process of using pencil on paper to become attentive to site and by testing alternative sites (Fig 1. Fig 2.). The researcher will draw directly onto the surface of the site while being open and receptive to the phenomena of the drawing material, the surface and the site.
Academic and practitioner Deborah Harty richly articulates the lived experience of the drawing process and informs my understanding of drawing as phenomenology. Harty notes that within the drawing process, states of awareness oscillate between the environment as background to a heightened sense of awareness of mark making (Harty, 2015, p.56). As a record of an experience, the drawings describe this shifting of awareness that evinces the immaterial into the material. The project seeks to create new and unexpected marks that records a perceptual experience with the knowledge that the drawing will offer only a singular aspect of that experience. The project posits that the drawing on the site’s surface physically and conceptually grounds the drawing in the site and does not depict nor hide a surface but draws attention to the surface of the site as content and context. The researcher posits that the drawing’s materiality will guide the viewer past aporia and encourage them to dwell in wonder as the truth of the phenomena is revealed. In this respect, the research adheres to Heidegger’s view (1994) of truth as not as a propositional truth as ‘correctness’ but is restored to its fundamental form as truth as aletheia.
Many practitioners draw ephemerally and site specifically such as Bart Lodgwijks (Netherlands), Barbara Bernstein (UK), John M. Adams (USA) or Harry Roseman (USA). Lodewijks chalk drawings reside within the realm of social practice where human relationships are paramount to the drawing: the chalk lines remain the same; straight and ruled lines and equal in width. Similarly, Adams brings a drawing motif to the site which is repeated on various sites. These repetitive and inflexible drawing approaches denies the potential for new and unexpected marks through drawing phenomenologically on the site. Bernstein and Roseman’s drawing approaches are concerned with creating site specific ephemeral drawings that ask the perceiving subject to “pay attention to who we are and where we are” (Bernstein, 2015. p.92). Although the project research concedes with this ambition, the proposed project differs from Berstein’s representational ‘immersive drawings’ and Roseman’s illustrative drawings. In contrast, there is no attempt to create any such illusion. The goal is ambiguity itself: an uncertainty, an indefinite space where wonderment may be sustained. The drawing doesn’t facilitate a representation of an aspect of human life but opens up a different realm on human existence. The research posits that the simplicity and accessibility of the materials ensure the drawing avoids any sense of awe or curiosity. The project posits that the ambitious gestural marks, as a disclosure of human presence, may disrupt any attempt by the viewer to cognitively grasp the meaning of the drawing. By loosening the “intentional threads which attach us to the world” (Merleau Ponty, 2005, p.xv) the drawing may hold the perceiving subjects attention in wonderment because it lays the groundwork to “reawaken the basic experience of the world“, (van Manen, 2011). In other words, within the Holding Space of wonder, the drawing seeks to find the “manifold layers of the experience of objectivity through the heart of subjectivity” (Moran and Mooney 2002, 2). In doing so, it is posited that the reciprocal relationship between the drawer, the drawing, the viewer and site become present to one and other.
A PHENOMENOLOGICAL INVESTIGATION INTO SITE-SPECIFIC DRAWING
Key Words: Site-Specific Drawing, Phenomenology, Wonder,
This proposed practice research project titled: Drawing Wonder: A phenomenological investigation into the Site Specific Drawing, examines how site specific drawing has the capacity to create a sense of wonder in order to call attention to the ontological relationship between the subject [drawer and viewer] and the object [drawing] and the site. A phenomenological lens provides the philosophical context for this inquiry that is situated within the field of drawing research and practice. This project potentially contributes to drawing research through the concept of Holding Space which is posited as a practice research methodology that examines how marks are created through drawing as phenomenology and it’s relationship to site specific drawing. Drawing is understood phenomenally and as such, drawing has the capacity to bring forth the essence of an phenomena to allows us to know the world differently by grasping the world through felt experience (van Manen 2007, 268-271). That is to say that drawing has the capacity to describe and bring into view the felt and liminal experiences of the site and of the drawing.
The theoretical considerations within this research project draw upon core phenomenologists who consider phenomenology, art and wonder; Martin Heidegger’s account of the ontology of art and his position on wonder, art and truth (1950, 1994), Max Van Manen’s account of a 'phenomenology of practice’ where meaning is found in wonder (2014) and Maurice Merleau-Ponty’s account of embodiment, perception and the flesh (1968, 2005). Merleau-Ponty writes that we find the true meaning of phenomenology within ourselves (Merleau-Ponty 2005, viii). Therefore, to awaken a deep sense of wonder in the viewer, the drawer must first be filled with wonder and be empathetic to the lived experience of the site (Merleau-Ponty, 2005; van Manen 2014). By taking a phenomenological attitude in wonder, drawing becomes a device for perceiving and understanding the world as it appears. Particular sites were chosen only if they provided a sense of wonder and located on or near public walking areas. The project seeks to test prior investigations of site specific drawing by omitting the initial drawing process of using pencil on paper to become attentive to site and by testing alternative sites (Fig 1. Fig 2.). The researcher will draw directly onto the surface of the site while being open and receptive to the phenomena of the drawing material, the surface and the site.
Academic and practitioner Deborah Harty richly articulates the lived experience of the drawing process and informs my understanding of drawing as phenomenology. Harty notes that within the drawing process, states of awareness oscillate between the environment as background to a heightened sense of awareness of mark making (Harty, 2015, p.56). As a record of an experience, the drawings describe this shifting of awareness that evinces the immaterial into the material. The project seeks to create new and unexpected marks that records a perceptual experience with the knowledge that the drawing will offer only a singular aspect of that experience. The project posits that the drawing on the site’s surface physically and conceptually grounds the drawing in the site and does not depict nor hide a surface but draws attention to the surface of the site as content and context. The researcher posits that the drawing’s materiality will guide the viewer past aporia and encourage them to dwell in wonder as the truth of the phenomena is revealed. In this respect, the research adheres to Heidegger’s view (1994) of truth as not as a propositional truth as ‘correctness’ but is restored to its fundamental form as truth as aletheia.
Many practitioners draw ephemerally and site specifically such as Bart Lodgwijks (Netherlands), Barbara Bernstein (UK), John M. Adams (USA) or Harry Roseman (USA). Lodewijks chalk drawings reside within the realm of social practice where human relationships are paramount to the drawing: the chalk lines remain the same; straight and ruled lines and equal in width. Similarly, Adams brings a drawing motif to the site which is repeated on various sites. These repetitive and inflexible drawing approaches denies the potential for new and unexpected marks through drawing phenomenologically on the site. Bernstein and Roseman’s drawing approaches are concerned with creating site specific ephemeral drawings that ask the perceiving subject to “pay attention to who we are and where we are” (Bernstein, 2015. p.92). Although the project research concedes with this ambition, the proposed project differs from Berstein’s representational ‘immersive drawings’ and Roseman’s illustrative drawings. In contrast, there is no attempt to create any such illusion. The goal is ambiguity itself: an uncertainty, an indefinite space where wonderment may be sustained. The drawing doesn’t facilitate a representation of an aspect of human life but opens up a different realm on human existence. The research posits that the simplicity and accessibility of the materials ensure the drawing avoids any sense of awe or curiosity. The project posits that the ambitious gestural marks, as a disclosure of human presence, may disrupt any attempt by the viewer to cognitively grasp the meaning of the drawing. By loosening the “intentional threads which attach us to the world” (Merleau Ponty, 2005, p.xv) the drawing may hold the perceiving subjects attention in wonderment because it lays the groundwork to “reawaken the basic experience of the world“, (van Manen, 2011). In other words, within the Holding Space of wonder, the drawing seeks to find the “manifold layers of the experience of objectivity through the heart of subjectivity” (Moran and Mooney 2002, 2). In doing so, it is posited that the reciprocal relationship between the drawer, the drawing, the viewer and site become present to one and other.