EXPERIMENTAL DRAWING
Raquel Kalil
2
INDEX
Cover : ink wash no. C1 tea bags, page 17
05 07 09 11 13 15 15 17 17 19 19 21 23 25 27 29 31 33
introduction from a distance no.A1 from a distance no. A2 taped tools no. B1 tactile contour ink wash no. S1 ink wash no. S2 ink wash no. C1 tea bags ink wash no. C2 coughs ink wash no. C3 tea bags ink wash no. C4 string root print land split frottage reductive raum yosemite no. A1 yosmite no. A2 sutra
Notes about the work -The artist discovers the task of ‘feeling’ the space of the surface through mark making. 4
-Building a relationship between the eye and the hand -Using mark making techniques to render the visual sensations of places visited throughout the city. - Synergy of place: looking, feeling, discovering and responding to environments Subject: Literal: -Neighbourhoods around the Bay Area, San Francisco Conceptual: -”hand sees what the eye feels”
EXPERIMENTAL DRAWING introduction: There are no limits of the materials or techniques used to make artwork. With today’s renewed interested in drawing as primary production of work, artists are given the opportunity to challenge their abilities to choreagraph space through meaningful mark making.
The layered surface rendered a dynamic vision of ‘felt’ space in a landscape drawing.
Mark making, though overwhelming at first, essentially translates the artist’s personal cartography.
ONE EYE SEES THE OTHER FEELS. DRAWINGS REVEAL THE PROCESSS OF THEIR OWN Paul Klee. MAKING-THEIR OWN In turn, experimental drawing conjured LOOKING. John Berger During the spring of 2014, I took a a new meaning for my work. I faced the As an artist, the act of mark making is course at Berkeley Extension with the task of developing the relationship aim of pushing myself out of my own between the hand and the eye. In an also the act of space making. What I learn from this methodological comfort zone and challenging the ways attempt to coordinate these two typology is the importance of making in which I draw landscapes. By moving bodily appendages, drawing extends away from the conventional black and itself into a rendering of its own process; clear the definition of a line or mark. white ink drawings that my earlier work felt drawing unfolds itself, reveals itself. By being consistent, repetition informs Lines become an energy projection that rhythm, and rhythm makes energy; the embraces, the course offered the opporunity to explore new methods guide the viewer into a felt response. addition and reduction of energy allows of approaching the drawing surface. And like a trail of contained energy, the artist to render their personal each marking renders an accumulation diagram: mark making is Through many layers of compression, expansion, reduction and repetition, my of visual sensations allowing the work space making. relatoinship with drawing transformed to translate the artist’s feelings and June. 2014 notions of space. from into sensory mark making.
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from a distance no.A1 charcoal, graphite, collage on paper 18in. x 24in.
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from a distance no.A2 charcoal, graphite, collage on paper 18in. x 24in.
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taped tools no.B1 mixed media on 4 sheets of paper (taped) 24in. x 36in.
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12
tactile contour ink, oil pastel, charcoal on printmaking paper 80in. x 80in.
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ink wash no.C1 tea bags mixed media on rives paper 22in. x 30in. ink wash no.C2 coughs mixed media on rives paper 22in. x 30in.
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ink wash no.C3 tea bags mixed media on rives paper 22in. x 30in. ink wash no.C4 string mixed media on rives paper 22in. x 30in.
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18
root print ink and oil pastel on rives paper 22in. x 30in.
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land split mixed media on rives paper 22in. x 30in.
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frottage mixed media on rives paper 22in. x 60in. each sheet 22in. x 30in.
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24
reductive raum charcoal and oil pastel on rives paper 22in. x 60in. each sheet 22in. x 30in.
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yosemite no.A1 mixed media on paper 18in. x 48in. each sheet 18in. x 24in.
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yosemite no. A2 mixed media on paper 18in. x 48in. each sheet 18in. x 24in.
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sutra charcoal, graphite and soft pastel on paper 18in. x 48in. each sheet 18in. x 24in.
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