The draughtswomen/men draw one another
Ana Leonor M. Rodrigues, James Faure Walker, Pedro Saraiva
P2 – duplicate
Students and members of the public
The draughswomen/men draw one another
During the period of 10 days, three artists will draw and portray one other obsessively.
The modes of register will vary, more or less directly referring to traditional drawing.
To the groups of students/visitors it will be proposed that they draw and observe the draughtswomen/men, becoming themselves also draughtswomen/men. Two parallel paths will be established here.
Apart from the traditional methods of drawing, other working methods will be used: photography, transposition, transference, digital manipulation, video, drawing projections as well as drawings from projections, etc. Some of these methods will be used in articulation with others.
Ana Leonor Madeira Rodrigues
The draughtsperson is usually someone who observes and within that action of observing, removes himself from the ‘reality’ which is recognizable in front of his eyes.
Although this is not an absolute verification, this is true in many circumstances; as for me, when I look and draw, although I attach parts of myself to these drawings, I am rarely the object of my own observation.
For this project, myself and two friends, Pedro Saraiva and James Faure Walker, have agreed to coincide in one action the act of observing and of being observed. In this way, during ten days we will ‘force’ ourselves to simultaneously draw and act as models for one another.
This action will directly become concerned with the relationship between the draughtsperson and the model, subverting the place of both, as these will continuously interchange, no longer allowing anyone to fix himself as either the draughstperson or the model.
Being conscious that today is common to establish the parameters of an artistic work through a kind of script, what I intend to do is nevertheless something more basic: to place myself in front of a pile of paper holding a pencil in my hand, and work with two people that I know well as draughtsmen. I draw together with them, both in the role of draughtswomen and in the role of model. It will be like diving into the pleasure of drawing.
James Faure Walker
My part of this proposal will be to observe and draw my two colleagues who will be also drawing in this space. Initially I will draw on paper, in pen or, or perhaps on a large scale support using felt-tip, or watercolour. My purpose here might be to identify some characteristic movements, such as the positions of the hands, and after, look for a way of incorporating these drawings into a format suitable for one of the paint programs I normally use – Painter, Illustrator, Photoshop. While drawing/painting in digital form, I intend to have this projected onto a wall. This will also give me the option of transcribing the projected image onto paper, or of photographing it, and continuing a drawing on the digital program. I also intend to print and work with some of the resulting image.
To live/see/inhabit the space of drawing
Three rectangular spaces of white walls.
Spaces of encounters; spaces for thinking, inscribing and describing the face, the memory, the body, through different modes of registering.
Three weeks, three diferent schedules in February; time for sharing the experiences of three actors and various spectators/participants.
The wall, the floor, the table, the white, the chair, the paper, the pencil, the paintbrush, the ink, the cloth, the computer, the photographic camera, the printer, the hand, the body...
… with these simple elements a project initiates and takes its course...