Write left hand and without looking

Examples of writing with constraints imposed - writing with great difficulty using my other (left) hand....and writing without looking.
The outcomes are like the writing of children - the intense concentration needed to write with my other hand reminded me of child's intense concentration when trying to do best handwriting too.
Tracey

 

Mix Motion debuted a custom built live drawing and animation tool during the Beats, Breaks, and Culture festival at the Harbour Front Centre in Toronto.

 And when it's over we just peel it!!! ta tan!

 And once it's dry we can use markers on top of the painting, maybe we can do the paint and let it dry and in the evening give the public the markers

A

I rolled only one colour  but we can do more as you can see depending on the background light the paint has different hues.

 then i put a bit of ink in a acrilic and i rolled it

this is the way it looks before you blow dry it

this is the way it looks once is ready, it doesn't have to go all the way to the frames of the window

It comes with some sort of celotape with with glue on both sides, first you put the tape and then you stick the plastic with a hair dryer.

Painting on the glass!!!!!!! (An idea with example)

this is the plastic i shown you the other day, i have  like three meters at home. Let me show you how it works

Pedro

Chocolate Topping. Sorry that was chocolate topping not chocolate tapping that was a mistake on my part.

Shadow Dance chocolate drawing students from 2nd year diploma in fine art Nepean College in 2009 Western Sydney Institute working on a large scale coolbrative drawing made from chocolate ice cream and tapping and olive oil on 300sm watercolor paper.The drawing is 3 metres in height x 4 metres and is based on the drypoint etching Shaddow Dance by Martin Lewis who was an Australian born American Artist.The project was devised and facilitated by drawing teacher Di Holdsworth

More Sol LeWitt

I like the idea of using Sol LeWitt as a model, even using some of his drawing instructions?
This seems to manage the question of involving participants in a very structured way i.e. do exactly what I say! Inviting people to participate seems to have no middle ground - either "Here are the materials, express yourself", or the Sol LeWitt School of Stalinism. I am for Stalinism every time!   
I attach pic of instructions for LeWitt’s Wall Drawing #541, a sequence of four isometric cubes. 
After all, contemporary art is sooo much about appropriation. As DB suggested, we could devise our own set of instructions. They could be audio, so example, rather than written?


Tracey

I hope im not going on and on.

I have been looking at Sol Lewitt's wall drawings and although I am unsure on whether they are meant to be performance drawings (I don't think they were performed in front of people but he had other people doing the work normally to quite strict instruction, so in my mind it is). I think they would work very well as performance pieces. We could instruct people and each other to make certain marks, different people making different marks. All drawing over one another and trying to find space. Please stop me if you lot feel I am putting to broad a range or too many ideas up, but at the moment I really feel there are more questions than answers.

DB

Another dance infused piece.

'Pass' is a collaboration between Australian artist Rochelle Haley, Swiss choreographer Marion Ruchti and French dancer Sarath Amarasingam. The art performance involves live drawing that is based on, as well as instructs, the improvisation of two dancers. It is a process whereby movement becomes matter that is passed between dancers and artist through both trace and gesture.

It seems the more I look the more dance/ drawing performanes are popping up. I think if we go down the participatory route then dance will be difficult, but I suppose we dont have to really dance just over exaggerate our movements to make the performance more intersting.

DB

Jane Grisewood

I think this artist also worked on the drawn together project.

Line Dialogues is a series of collaborative live performance drawings exploring movement and process, repetition and obsession. Working with Canadian artist Carali McCall, the performances evolved out of shared concerns in our drawing practice while research students at Central Saint Martins, University of the Arts London. Creating large wall drawings of different durations, we record temporality and presence while challenging endurance and responding to the mood, sounds and architecture of the spaces. With total corporeal involvement in the repetitive motion, the body becomes transformed into a sculptural object moving through the space.

DB

Rebeca Horn again, doing her thing...

Rebecca Horn, Pencil Mask, 1972

I lurve Rebecca Horn, a German performance and installation artist. She is very involved with extending her body with prosthetics in her performance work.

Many of the references we have found for performance drawing so far seem very connected with choreography, where the act of drawing itself is a form of dance. A kinetic flow, a kind of conversation between the body and the mark, and sometimes the body's movement itself is the mark.

Rebecca Horn's prosthetics are altering and compromising the flow of the body's movement. I love the idea of the restrictions and alterations that this would impose on drawing. I would love to do something working with prosthetic body parts and drawing! It would be fun, honest! OK, maybe not the gimp mask for a family show!

Check out some of Rebecca's Horn fantabulous creations...

Tracey    

hey guys even though i haven't been over her at all i've been working on What a window can offer, i've been going around with my camera looking for thing on windows,, not so much on what is inside the window but on what is on its surface, the reflections.

On Windows By pedro

HEY

A Participatory Event

Drawn to the Beat is a participatory event, exploring the possibilities and contradictions of negotiating a solitary, internal perception and shared acts of creativity through drawing music. One evening in January 2011, 100 participants arrived at the live music venue Band on the Wall in Manchester to find I had covered the floor in giant rolls of paper. Ultimately left to their own devices, the participants took to the floor, drawing in response to an eclectic mix of music from DJ’s played through silent disco headsets, and from live musicians. This event was funded by Arts Council England.

http://vimeo.com/22116637

DB

Wow, thanks D for this Gosia Wlodarczak find. The work is very striking produced in white/one colour. 
We seem to be exploring a range of performance drawing, but the idea of participation in our drawing is something we have not tackled yet. Feels like we need to. It may or may not be what we want to do?

I found a show from same artist called CONVERSATION (2009), that used participants in quite an intimate way. It was made during a series of conversations which took place at gallery in Canberra Australia over 3 days. The artist archived these conversations through drawing on a piece of linen hanging at torso level. The drawing happened between the face of the conversation partner and the artist's face. The aim was to investigate and archive the intensity created/provoked between people during such conversations. The drawing outcome revealed shapes, simplified silhouettes/portraits of the participants.  

This is quite an intimate way of working - I like the use of drawing as a way of recording that proximity and intensity.

Re. meeting up - yes can do 1.30 Mon 19.

Tracey

Yes Gosia Wlodarzak,s work sounds very interesting i have never heard of this artist before and it is also somewhat performance based in regard to taking in the surroundings .I like the idea that you can pick out several drawings from one drawing and that the images are drawn over each other because maybe that is the effect that we would get from a collabartive drawing project if the space being drawn on is drawn over many times.
We should get together as a group during the week that starts the 19th of march to plan our blog presentation.
Katy

I have found someone!!!

I have found this artist called Gosia Wlodarczak who has done some performance drawing on glass, she draws using pigment markers taking in her environment, sounds etc. She also draws on walls you can pick out images from her drawings as they seem to be layered over each other.

Here is a link to her site.
www.gosiawlodarczak.com

DB

Although this is again quite different to what we have been talking about I believe some of the sensibilities of the work gel with our own ideas.
DB

Human Spirograph

DB

when first asked about the element of audience participation the first reaction i had was to try and solve it in some way.I now understand that there must be a somewhat organic approach. Things will adjust themselves natrualy and it will all come together in the end.Things will happen bit by bit and i should not worry so much about solving problems that do no even exist yet. katy

I am going to throw an idea about regarding a half finished thought i have had.

My contribution is based on chinese whispers.

This idea would fill the criteria and questions that were brought forward by David Price regarding the formative feedback sheet which were as follows audience participation and the question of audience decision as in the audience not being art students.This is just throwing ideas about but by engaging an audience this way it would be somewhat performance based and also interactive.

I know it sounds a bit stupid but it was just an idea i regarding the performance and audience participation aspects.

katy

Thanks D for the 'Drawn Together' reference.

Artists Birgitta Hosea and Maryclare Foá are exploring the physicality of drawing in real time it seems, "communicating how the body traces and experiences duration".

Their performance drawing is interesting, two people bound together by a latex tether, the stretch and pull, the  movement of one person influencing and suggesting the movement of the other person. 

So they traced the movements of drawing on ancient, decorative tiles in this palace without leaving a visible mark. Like a performance of drawing. Seems to me very much like a dance.

Their blog mentions the following sources...

"It references Fluxus, and engages with theories and concepts by Deleuze and Merleau-Ponty to develop the notion of becoming and the experience of the body in space and time."

Need to check out Fluxus - David pointed us to them also. 

Tracey 

http://drawntogether.wordpress.com/

http://drawntogether.wordpress.com/