This is the project enquiry that arose from the previous tutorial: of how to take further the idea of myself as drawing tool as well as the scope of performance as drawing as it arose within the Manual for a photocopier (A2) and the emerging Parallel Project.
The idea was to consider the window pane as lens, tracing paper as diffuser and myself as ink.
Event 1: In the first instance I went to the large window site in which I had originally explored this as part of the tipp-ex drawings. I produced two drawings, which I then moved to a notice board inside my office.
Event 2: In a second instance I begun to explore the small window opening in my own office and begun to trace the opening (here no direct sunshine fell on the window, so the copying was more indirect, subdued):
The images in the slide show are in chronological order (and contain three drawings, two from event 1, one from event two).
For event 1 I found myself tracing myself numerous times, often unsucessfully so; I also like the start contrast of the light against the tracing paper and how it showed up the varied nature of the glass itself; I found some paper lying on the window sill and employed it within the set up. A colleague passed by who offered to try and set up the light table (which sits in the corner of the teaching lab in which I did this), her interest changed a little when she discovered that I was doing my own research, not work for the school.
Moving the two drawings to the notice board in the room and fixing them with pins revealed their translucency: how they negotiated the many previous pinning of materials now gone from the board.
For event 2 I used the same tracing paper role, fixed it with tape above the window opening and begun to trace the marks behind, which were this time far more subdued due to the lack of direct sun. The opening was interesting as mark though.
I begun to ask myself what makes me ink and what can my self as ink be; as primarily I am still the one who holds a pen; so I am not ink as such but artist, mark-maker. I tried to take this further by producing a drawing of the setup, not just framing photographs of it; by drawing the setup and placing this within the setup I felt I was stepping outside the author role but producing something that again becomes part of the setup itself.
Myself as ink: does this mean I am limited to indexicality: to trace what I find? Perhaps choose this pen or that, this pressure or iteration over that? Of course it also still remains eyes and hand coordination.
>> part of that is unsatisfactory; although I do like the delicate marks that are left on the paper, their unintelligibility once they are removed from the site itself; I also liked the being observed doing this unintelligible action; and then, in my office alone, to be doing this in secret. The photographs I produce of this seem successful and work best for me.
>> what interested me most was the context on both occasions, the stuff I would discover during the process; and how these could be engaged with as part of each performance/event.
I left the final set up: closed window with paper still taped in the office when I left in Wednesday lunchtime.