The act of drawing is commonly thought of as performed on a two dimensional plane,
pencil on paper. Landscape is defined as the visible features of an area, the three dimensional
world that surrounds us. This work questions the dimensions of drawing and landscape. It asks,
what are the requirements for drawing? What is our landscape and what dimensions do we
consider our surroundings to be? What processes turn drawing into something else? Is it pencil,
pen, and paper? Or can drawing exist in other dimensions? That is, can other forms exist as
drawing?
This work explores the possibility of adding dimensions to the landscape of a drawing. Asking what the addition of the aural element of drawing does to an image. What new texture does it create? It addresses the unique but shared aural experience of drawing as a subject. Visually, I am interested in the laborious nature of drawing, utilizing repetition as a strategy to create form, as well as the inherent materiality of graphite and paper. This work questions what is still present with the removal of the page and what arises when the soundscape of a drawing is elevated and positioned in relation to its landscape.
The drawing soundscape is an experience that is often overlooked but widely shared. I am interested in recognizing this aural experience as one of value and generation. As the aural is often overlooked in drawing it is similarly overlooked in our three dimensional life. Here I am asking what dimension does the aural add to our experience of the landscape. I'm working with the idea that the physical and aural experience of drawing has value as much as the end result of the activity. Vibrations attempts to call attention to the possibilities that lie within landscapes and soundscapes, finding the two to be inherently related.
This work explores the possibility of adding dimensions to the landscape of a drawing. Asking what the addition of the aural element of drawing does to an image. What new texture does it create? It addresses the unique but shared aural experience of drawing as a subject. Visually, I am interested in the laborious nature of drawing, utilizing repetition as a strategy to create form, as well as the inherent materiality of graphite and paper. This work questions what is still present with the removal of the page and what arises when the soundscape of a drawing is elevated and positioned in relation to its landscape.
The drawing soundscape is an experience that is often overlooked but widely shared. I am interested in recognizing this aural experience as one of value and generation. As the aural is often overlooked in drawing it is similarly overlooked in our three dimensional life. Here I am asking what dimension does the aural add to our experience of the landscape. I'm working with the idea that the physical and aural experience of drawing has value as much as the end result of the activity. Vibrations attempts to call attention to the possibilities that lie within landscapes and soundscapes, finding the two to be inherently related.