Shadow Drawing (Jul.31 – Aug.29, 2012)
Coloured pencil on rice paper
179 x 36 cm
2012
(Charting the sunlight shadow cast on the wall for thirty days – the number of shades on a standard coloured pencils box. Each colour records one day.)
Water Drawing (Jul.26 – Sep.07, 2012)
Permanent marker on glass bottle, rubber band
Approx. 22 x 6.5 x 6.5 cm
2012
(Starting Jul.26, 2012, 1/2 L of water left to evaporate on direct sun. Marking the water level every day at sunset. The work ended when it rained.)
10090g (Sep.12, 2011 – Sep.17, 2012)
Cardboard packaging, mirror
179 x 36 x 21 cm
2011 – 2012
(Nested cardboard packaging, piled up until they reached 179 cm- my height. It tooked, roughly, a year…)
Serial Drawing (Lines, not short, not straight, crossing and touching, draw at random, using four colors (yellow, black, red and blue) uniformly dispersed with maximum density) (Jan.26 – Jan.29, 2012)
Coloured pencil, pen on paper
29,7 x 42 cm
2012
On the text reads:
[Lines, not short, not straight, crossing and touching, draw at random, using four colors (yellow, black, red and blue) uniformly dispersed with maximum density covering the entire surface of the wall (plan for Lewitt wall drawing at the Guggenheim International Exhibition, 1971; executed by David Schulman, whose notes on the process are quoted below):]
”Started Jan. 26 having no idea how long it would take to reach a point of maximum density (a very ambiguous point at that). Being paid $3.00 per hour, trying to let my financial needs have little effect on the amount of time I worked… I was exhausted after 3 days of working without the slightest intimation of density. Having only one mechanical pencil, even the energy expended changing leads had an accumulative tiring effect… I pushed to get the lines down faster while keeping them as not short as not straight and as crossing, touching and random as possible. I decided to use one color at a time, and use that color until it reached a point I considered one quarter ‘Maximum Density.’… Signals of discomfort became an unconscious time clock determining when I would stop and step back from the drawing. Walking up the ramp to look at the drawing from a distance provided momentary relief from the physical strain of the drawing. From a distance, each color has a swarming effect as it slowly worked its way across a portion of the wall… The drawing in ways as paradoxical. The even density and dispersement of the lines took on a very systematic effect. Once the individual difficulties of each color were determined, any thought as to how the lines were going down in relation to line previously drawn gradually diminished until there was no conscious thought given to the lines being drawn. Doing the drawing I realized that totally relaxing my body was only one way of reaching a deep level of concentration. Another was the mindless activity of doing the drawing. Keeping my body totally active in an almost involuntary way-in a sense, totally relaxed my mind. When my mind become relaxed, thoughts would flow at a smoother and fast pace.”
(in Lippard, Lucy R. Six Years: The Dematerialization of the Art Object from 1966 to 1972 … Berkeley: University of California Press, 1973. pp. 201-2002)
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