UNDRAWING: A GLOSSARY OF DAILY DRAWING
Keywords:drawing, glossary, daily practice, exploratory research
Since June 2021 I have been working on the Daily Drawing project. I draw on a daily basis and make one drawing public every day. Although I have always been drawing in (private) sketchbooks, the public format of the Daily Drawings has revitalised my practice. It forces me to reach out and to let go of control. It is the drawings that are in control and that guide me through their visual tracings. The glossary presented here is an ongoing project that aims to build an understanding of a drawing practice and of drawing in general by interacting with the Daily Drawings in a word-based language. The glossary will not analyse the drawings, but interact with them, learn from them and reach out to them. It is a speech act of undrawing in the double meaning of that word: rendering something visible (as in the undrawing of a curtain), and erasing or undoing what one has just drawn. Drawing, thus, not only as a process of learning and knowing, but also as a process of unlearning and unknowing. The glossary will engage in dialectical research of drawing as an exploratory research method complementary to writing and thinking.
Antena (2013). A Manifesto for Ultratranslation. Available: https://antenaantena.org/wp-content/uploads/2012/06/ultratranslation_eng.pdf (viewed 17.02.2022.)
Barthes, R. (1979). Sagesse de l’art. In: Barthes, R. (2016). Cy Twombly. Editions du Seuil, pp. 9–36.
Barthes, R. (1979). Cy Twombly ou “Non multa sed multum”. In: R. Barthes (2016). Cy Twombly. Editions du Seuil, pp. 37–64.
Benjamin, W. (1917). Painting and the Graphic Arts. In: M. Bullock, M. W. Jennings, (eds). (2002). Walter Benjamin: Selected Writings, Volume 1, 1913–1926. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, p. 82.
Benjamin, W. (1917). Painting, or Signs and Marks. In: M. Bullock, M. W. Jennings (eds). (2002). Walter Benjamin: Selected Writings, Volume 1, 1913–1926. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, pp. 83–86.
Geerts, B. (2015). Research in doubt: Mediated Redescriptions. In: J. Quaresma, A. Longley, F. Rosa Dias (eds). Research in Arts: Irony, Critique and Assimilation of the Methods. Lisbon: Escola Superior de Teatro e Cinema; Creative Arts and Industries Dance Studies; The University of Auckland, pp. 120–129.
Hanula, M. (2013). What Is It Good For? – Artistic Research As an Act of Fumbling (of a Sort). In: M. Hanula, J. Kaila, et al. (eds). Artists as Researchers – A New Paradigm for Art Education in Europe. Academy of Fine Arts, University of the Arts Helsinki, pp. 87–97.
Migration: Speaking Nearby (2019). Migration: Speaking Nearby. Asia Culture Center. Available: https://www.eflux.com/announcements/305194/migration-speakingnearby/(viewed 30.04.2022.)
Perec, G. (1973). Approaches to What? In: G. Perec (1999). Species of Spaces and Other Pieces. Penguin Books, pp. 209–211.
Perec, G. (1978). Brief Notes on the Art and Manner of Arranging One’s Books. In: G. Perec (1999). Species of Spaces and Other Pieces. Penguin Books, pp. 148–155.
Schwab, M. (2019). Expositionality. In: P. de Assis, L. D’Errico (eds). Artistic Research Charting a Field in Expansion. Rowman & Littlefield, pp. 27–45.
Copyright (c) 2023 Culture Crossroads
This work is licensed under a Creative Commons Attribution 4.0 International License.