brief mapping of interests/themes for D2:

— as note send to tutor ahead of first meeting.

Themes/ questions / interests:

boundaries, edges and frames

author/subject/viewer >> what relational constructs are active within a frame, a piece or body of work

indoor/outdoor >> notions of environmental art rather than landscape
voyeurism/joy of looking
violence (private/public)

materials/ processes:

  •  graphite, ink, > opacity/translucency
  • encaustic/ layering/ embedding
  • body (walking, moving, gesture)
  • textiles: string, wire, sewing machine
  • also: lens-based/ no lens photography (darkroom)
  • screenprinting (potentially other forms of printmaking)
  • movement into space: 2d to 3d, mobility, fleetingness (also, e.g. in relation to performance work)

> parallel project: walking, movement >> less so drifting but perhaps the various materials/ routes that I have around ‘commute’… my body as drawing tool?

The course: experience, plans, motivations

on Creative Arts Pathway (at Level 1: Printmaking, Drawing 1, Art of Photography), currently determined to complete and move to Level 3 (but that wasn’t initially the plan, and through every module was at point of leaving);
currently: good cohort for dialogue; good course material; modules work well for my own projects (these tend to be large, at earlier stages I felt I was merely offering good personal work to fulfil course assignments, less so the sense now: ability to complete bigger projects as parts of DIaC and to revise them).

The series of themes and interests are noted in an earlier post and listed also above.

I had contemplated submitting a portfolio for D2 but haven’t got enough material for it yet; was also eager to get a better sense of how drawing and lens-based can be explored together before moving to Level 3 >> been largely in the presence of photographers or, in OCA context Fine Artists (i.e. without a lens-based/photographic practice), so feel a bit uncertain how these can combine for purpose of course.

My background:

I am a human geographer by training, did a PhD, worked for six years as a post-doc in UK HE and left in 2009 to pursue art more seriously. I work in HE as tutor, trainer and facilitator (mainly for PGR), translate academic text and recently started to revisit my academic research to see where and how this can relate to my visual arts practice. Outside the OCA degree structure, I often work with text, in social settings (through workshops etc) and started a bit of performance work; but in all this I was always keen to have a strong visual arts background (so that my social scientist doesn’t get to determine too much what I consider art to be). I grew up in Germany, moved to the UK in late-1990s and have lived in Glasgow since.

digital drawing / the phone as sketchbook (still?)

Following up two strands:

a. the moving between lens-based to drawing-based research and practice; and

b. the integration and boundaries between digital and analogue.

In the D2 hangout last week we talked about digital sketchbooks and being encouraged to use them. Following this up, I see largely two forms of ‘digital sketchbooks’:

  • using drawing or sketching apps on phones, but mostly ipads (i.e. larger touch screens)
  • using a digital notebook approach through depositories such as Evernote, Pinterest, tumblr or Instagram.

And, reading these, I realise my slight disappointment: I somehow had thought we would be further on, remembering my not very successful attempts at using Evernote and Pinterest before; also having abandoned IG as I wasn’t keen on its public/private settings. I read on and find again then how people complain about the lack of easy integration between digital and analogue, describing similar processes to myself of taking scans, (or in my case pictures) and thus linking analogue sketchbooks in with digital ones; or in return, printing out pages and gluing them into notebooks.


[clicking on the image takes you to the instagram account]

After some reading, I decide on the following:

  • Set up a new Instagram account which sits on the sidebar widget here and which will act as a digital sketchbook for the course:
    • it is a bit limited as to text capability as it will require input through the phone only (and thus be limited in what I want to type);
    • it will however provide scope to easily link in and out of, i.e. provide a networked and easily syndicated platform;
    • it also provides fairly high quality photos and videos, plus a couple of slideshow, collections as well as collage options;
    • thirdly, it will allow for keeping some of the more extended materials off this blog
      >> I think this is what I have found difficult for DI&C: I tend to write performatively and like a blog that is more than reflection, my Facebook account pretty much functions like this, but this adding, filling, diverting jars with the notions of a reflective learning log. So: through the IG account I can do that in ways that don’t interfere too much with the learning log idea. I may have to reconsider if I also want a more text-based digital sketchbook and add/divert to a tumblr.

While the IG account links to this blog (and thus my name), it in itself is fairly anonymous, explained as a project sketchbook and not ‘representation of my self’ in toto. Separating this out, seems useful.

I also realise how much I am using FB as a research notebook and will investigate what of this can be made productive for this course. The advantage of the rich-media surface that FB offers, along with some easy privacy settings of defining visibility and a now fairly long time in which I have explored that platform make it still a favourite, yet through the way I have made it private is not really suited as a sketchbook companion for this log.

First D2 hangout: installations

One thing I noticed once I had signed up were the active discussion threads on module forum. I met some people again whom I had been in contact with during earlier modules.

Without actually having started the module properly, other than revisiting and rearranging earlier material on here and in my sketch- and notebooks, I joined the hangout scheduled to discuss Part 4: installations.

I circulated two pieces of work for this: one, a personal piece of work which consisted of a drawing, installation and performance in 2013 (o|a, observatory | abundance), the other one the installation of the materials for assignment 4 and 5 of DIC.

Each of the four of us circulated materials beforehand: either work of others they were interested in or their own materials.

During the discussion, I really enjoyed getting an insight into their interests, working practices but also views on the module in relation to Drawing 1.

Installation view, no | shadow | secrets May 2017

Notes to take:

  • observation as key for the course, but this does not necessarily mean observational drawing
  • tutors are keen on digital sketchbooks (now I just need to figure out what a digital sketchbook is, but I am liking that thought)
  • relationship between relational aesthetics as they activate the artwork in the context/presence of audience : how does this relate to notions of memory, trace >> what is the temporal dimension between activation in a performative setting and a form of documentation/ recording that makes use of the distance, detachment even between these.
  • also: what is the significance of presence/absence (Sue mentioned Derrida’s absent presence; but also that in the moment of touch in quantum mechanics there is no other, no outside. >>  one of the issues around my interest in boundaries relates to this.
  • revisit again the meaning/ definition of drawing: made, found; the means
  • using research to focus the hangout discussion and how it relates to each’s project at this stage.

I found the discussion inspiring, focused, in-depth; I also realised how comfortable I was to bring in my interest in theory, academic practice.

Installation views, observatory | abundance (2013)

moving between lens-based and drawing media

For the past four years I have almost exclusively worked with lens-based and/or networked images as well as with written and performative forms of practice.

The move from media which starts with a blank page to one that starts with a fill-up viewfinder took a while to grasp, and I am curious to see what this reverse move will entail.

I want to use this post to update periodically on the boundaries and transitions between these media/forms.

Here is a sketchbook note from one of the last projects I undertook in drawing, at a point when I was already working with a camera. The entry is from 2013; and since last summer (2016) I have taken several notes that spoke about the struggles over subject-matter and the severity of subject matter that seems to prevail with my lens-based work (for the past 18 months lens-based mainly meant an analogue medium-format camera (Bronica SQA with several backs and lenses, with negatives then scanned and digitally post-processed; also some 35mm film as well as a camera phone, and much less use of a 4/3 digital Lumix G with several fixed lenses).

So, for the past few photographic projects I have rather purposefully tried to seek ways in which both a form of visual pleasure is present in the work while maintaining the seriousness of the content (often to do with violence, transgression, various forms of boundaries, concerns over public-private, family constellations and biographical work).

The projects are namely


de-light as resolution
de-light in image

some initial thoughts on digital/analogue

… this mp4 (not quite a gif, not quite a meme) is the outcome of an exercise for the course I am currently finishing: Digital Image and Culture.

And while I know that previous coursework must not constitute coursework for a different course, I want to spend some time to draw out the themes, concepts and methods that I have been working with in lens-based, digital and analogue form for the past two courses (Art of Photography, then Digital Image and Culture), as some of the working processes and interests will remain similar and I want to use Drawing 2 as a framework to work more seriously through the interconnections between analogue and networked artistic practices; – Digital Image and Culture has set me up well, I feel, to form an understanding over what the relationships are, what some of the anxieties are too, surrounding a changing field of practice, but moreover: what are the continuities and how can an artistic medium and form be utilised to understand contemporary identity-constructions and social practice.

So, here, a playful first dip into meme production, artificial intelligence and an Android Drawing app: