About the Project

The project seeks to examine relationships between investigative procedures in sciences of conservation, archaeology and medicine and the experimental tools and ideas of Art. It centres on the exploratory and analytical activity of drawing, where overlapping concerns can be found, specifically in the researcher’s shared engagement with fugitive or delicate material. The project responds to recent concerns voiced over the introspective character of much contemporary drawing research (Garner 2008) and its interdisciplinary approach falls in stark opposition to the conventional understanding of drawing as a secretive, private, studio-centred dialogue between artist and page. Rather than simply asking that increasingly hackneyed question: “what is drawing?”, it interrogates the activities of researchers who share values with a particular form of studio practice (one concerned with damage, contact, delicacy, sensitivity, traces) to ask “what might drawing share?”. The development of forms of documentation which are rare, yet necessary, to enable critical debate (through raising awareness of studio decision-making in relation to the processes of other fields), aims to test a transferable model for cross-discipline knowledge exchange.

Garner, S. 'Towards a Critical Discourse in Drawing Research' in S. Garner (ed.) Writing On Drawing: Essays on Drawing Practice and Research, Bristol: Intellect, 2008, pp 15- 26.

Research Questions:

How might technologies, protocol, methods of handling borrowed from these scientific disciplines be translated into studio processes to result in new and innovative methods of drawing to articulate ideas of the delicate?

Can these methods and resultant images make visible otherwise hidden interdisciplinary connections?

Can this approach to studio practice be documented in such a way to develop and communicate a transferable model for interdisciplinary studio practice?

Wednesday, 10 June 2009

Making Patina

Images indicating the process of making the Patina drawings. Using a syringe to deposit carefully moderated amouts of grease onto the surface, mapping out he image of he shadow - a fleeting image wihich will be preserved through the grease. Here the traces of the contact are preserved and replace the image and object to which they refer - aprocess similar to the rigorous documentation that comprises the 'preservation by record' methodology in archaeology. It is a system of careful and controlled recorded, documenting yet in the case of Patina this is perhaps perverse - the intention is to inflict damege, a mark but through the careful moderation of dangerous elements, their impact is controlled to result in an image.

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