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1981
Volume 8, Issue 1
  • ISSN: 2057-0384
  • E-ISSN: 2057-0392

Abstract

As both an architect and a drawing practitioner, I work at the intersection of the real and the construction of reality, where the theatricality of the acts between the unthought, the unsaid, and the unseen or unfathomed move towards learning the of embodiment. We can never be certain, but only objectively vague, as to how the drawing process happens in space and time, and, in my case, how it will enact and embody movement . Drawing from examples of modernist, experimental art practices, which embodied movement into drawing by employing indeterminate strategies – for example, László Moholy-Nagy and Marcel Duchamp – I introduce movement as an instrument of preparation, arrangement, transformation and simulation. Starting from what is made, drawn or borrowed transforms carefully prepared scenes into an unexpected reality in which the author makes all possible preparations but cannot fully control the outcome.

© 2023 Intellect Ltd
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2023-05-17
2026-04-22

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Drawing movement before architecture: Theatricality of the objectively vague
Drawing: Research, Theory, Practice 8, 71 (2023); https://doi.org/10.1386/drtp_00106_1
/content/journals/10.1386/drtp_00106_1
/content/journals/10.1386/drtp_00106_1
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  • Article Type: Article
Keyword(s): before architecture; drawing; indeterminacy; movement; objectivity; theatricality; vagueness

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