DENSITY/SCARCITY on Spatial.io
opening November 8, 2022
Dragana Crnjak is serbian-american artist born in former Yugoslavia. She received her M.F.A. in Painting and Printmaking from Virginia Commonwealth University in Richmond, Virginia. She is an interdisciplinary artist whose work is primarily based in the medium of painting and processes of drawing. She is a recipient of Ohio Arts Council Individual Excellence Awards in visual art for 2008, 2011, 2015, Research Professorship from Youngstown State University, and Virginia Museum of Fine Arts Professional Fellowship in drawing. She had taught art at University of Virginia and The Cleveland Institute of Art. She is currently Associate Professor at Youngstown State University, Ohio, teaching painting and drawing.
The two works part of Density/Scarcity where made in response to a digital image of Dayna and Meredith’s work, Are you there, sometimes I Spend Hours Looking, as part of The Line Drawing Project.
These two digital drawings where created through replicating my studio processes of selection, cutting and repetitive processes, into the digital realm. Taking inspiration ,and sampling from Dayna and Meredith’s work, Are you there, sometimes I Spend Hours Looking, as part of the collaborative, "The Line Drawing Project”.
My fascination with line, replication, and its ability to construct space plays out a sense of connectedness and fragility, where lines become boundaries, or spaces to inhabit, evoking a dichotomy of emotion. When creating drawings, digitally or on paper, I am focused on the potential for installation, where each line becomes an object to be presented in scale relationship to the body, for the viewer to navigate and inhabit. This replicates my drawing approach of lifting the drawing off the page.
My delicate and intricate works combine drawing and painting, and are filled with technical, visual and conceptual juxtapositions and dualisms. . Focusing on contrasting themes such as urban life vs. nature, environmental protection vs. pollution, or organic vs. synthetic. Other prominent themes of mine include childhood, free play and the experience of nature—inspired by my own childhood memories and my observation of my three children playing and interacting.
The works shown in Density/Scarcity are digital hand drawings bringing layers about an iridescent quality where photographs are combined with subtle drawn interpretations of nature.
Materiality is something that the metaverse can question critically. Rather than 'render' materials traditionally as texture maps applied in a complicit manner, wood.glitch purposefully exposes the sublime potential of these perceptions.
Cleaning is a part of ordinary everyday life, yet do we really know what cleaning looks like? These drawings are part of a series that records the movements made by sweeping, vacuuming, mopping and washing the floor. Paradoxically, the more lines there are in the drawing, the cleaner we can assume the floor to be, even though the paper is actually dirtier.
In her work Cordula Hesselbarth explores the realm between art and science. As a professor for media-based scientific illustration she develops with students didactic images and media to communicate scientific themes. In her artistic work she approaches similar issues from an artistic perspective, producing large-format paintings, digital and analogue drawings, and video works.
I do performative walking projects and text based works. Playfulness and experimental approach are key aspects in my drawing practice. Energy springs from bodily movements. The crucial aspect that interests me is combining exercise, D-I-Y-sensibility, and artistic practice. More spiritually, to me artistic practice is philosophical reflection. In a deeper – metaphysical or existential – level the durational, temporal aspect is the core. It is fascinating to experience traces and elements accumulate as time passes by.
I consider my artistic practice as research of the not-known, in terms of artistic research. In addition to that I do also qualitative research on art sociological issues. Main themes of interest are everyday aesthetics, the concept of art, and critical literature on exclusive western art world. I like to reflect Allan Kaprow’s idea of non-art and to consider whether we are witnessing the dawn of a post-art age.
Dayna Leavitt and Meredith Starr
Are You There? is a transatlantic collaboration between former roommates Meredith Starr, an interdisciplinary artist in New York, and Dayna Leavitt, a photographer in London. Their conversations over text messages share their daily and mundane experiences and have become the source material for their project, which initially began as a way to stay connected during various lockdowns during the pandemic. The title of the series references the question they ask each other most, and the titles of the digital collages incorporate snippets of their text messages. The images are trace evidence of their virtual conversations - an ambiguous reflection of observations that blur where one ends and the other begins. Streams of natural light and moving shadows are often layered with what they notice throughout the day such as debris from dinner, or what caught their attention on a daily walk like the wisp of a particularly pink cloud. As the artists navigate forced distance and a time difference, exploration of these themes create a constructed alternate reality. Their manipulated photographs reflect fabricated memories that simulate a shared experience, allowing them to invent an escapist, imagined space where the artists co-exist. The project is ongoing, and the artists have recently created an immersive and interactive VR experience, You Are Here VR, now available on the app store.
Time Lines are composed of marks that are signs of time and, referencing artist Avis Newman, thought.
Newman's statement, “A mark is a sign of thought.”, informs my Art on many levels. As the hand or body makes a line across paper or space, what happens inside the mind? This has led to an interest in the relationship between drawing and time. How is time experienced when mark making? Concurrently, how can a site affect a drawing? Various philosophies, particularly Taoism, inform and guide my practice. It encourages forming perspectives from an even place.
In Time Lines, marks are generic and nondescript. These qualities leave them open for interpretation, as they suggest rather than show. Drawings grow out of light and shadow and in response to their surroundings. I mark shadows cast by the sun in relation to architecture over several minutes or hours. Sunlight is temporal and an active and challenging force to record.
Tracing shadows bridges the internal world of thought with the external happenings of my surroundings. Marking their movement in relation to the shifts in sunlight leads me to experience the ephemeral and encourages keen observation and reflection. Engagement in this practice over time leads to surprising microscopic and macrocosmic interconnections and alignments. Unexpected formal dialogues emerge from the process that piques curiosity to see what happens next.
The series of works, "You See What I Hear," draws on the Deep Listening practice of pioneer Pauline Oliveros, whose research was devoted to listening, breathing, and the moment.
The sense of hearing has been greatly relegated to the background since the Age of Enlightenment. But our ears let us "see" things that our eyes cannot find.
Béatrice Remillieux’s drawings deal with the complex relationship between human and nature. We can call them "organic drawings", figurative at the beginning, which evolve progressively towards the representation of abstract materials and compositions. They emanate a part of mystery. It is an introspective work in which some references to artists and writers are mixed.
Patiently tracing thousands dots and dashes to make matter bloom on paper leads to meditation: we must rethink the sense of limits and boundlessness in the Anthropocene era. The art of the Anthropocene questions the meaning of human activity and dialogues with ecology, it is an art of struggle, an art whose great characteristic is the strong attachment to the natural world, to the plant, to the animal. We have to work slowly, as for the design of a forest, a space that you manage on long times.
The theme of the islands has become recurrent in her works. These islands are entitled in French "i(s)les" instead of "îles". With the passage of time the "s" written in parentheses has disappeared in the French language, just as these places of peace where the plant world dominated have disappeared.
The drawings are from two diffrent series, both about time.
The first one (17485/remember and forget) is about lifetime. The drawing has as many marks as I am days old when finishing - that's what the title is refering to. The single sign is still recognizable, the impact of the mass distinguishs from that.
The second one (timecorpus 4h33'54''/Chronografies) is about the empirical knowledge of time we experience every day. Time passes scientifically measurable and constant, but our subjective sensation is diffrent: time can be dense, of long duration, borring or not enough. With the timecorpus I intent to make visible these phenomena.
The drawing is made in, and at the same time visualizing, 4 hours 33 minuts and 54 seconds (of my life).
Laure van Minden
I will always remember how totally flabbergasted I was when, during my MA interview, Paul Fieldsend-Danks’s asked me: “Have you ever thought of performance?” The idea of performing filled me with dread so I put it at the back of my mind. Did he plant a seed? I now draw as I live, in the moment. I respond to live music, feeling it through my body and visually interpreting its movement with both hands and spontaneous gestures. The marks created reflect the density of the sounds whilst enhancing the scarcity of the silences. I particularly love improvising to free jazz and sharing the same creative space than the musicians for an ephemeral moment. I attend bi-monthly participatory sessions with musicians exploring mark making in-situ and experimenting with sound making using my drawing tools. Unbeknown to me drawing has become performative. The language of drawing fascinates me.
Although the virtual space of painting and drawing is where all of my projects begin, I frequently find myself in the realms of architecture, interiors, public space and inter-disciplinary collaboration. I view all my works as vivid backdrops for human activity - arenas within which all possibilities may occur. When I draw, I'm testing the virtual space I'm creating on paper against the architecture of the space I'm occupying at the moment. Eccentric, flickering patterns form stage sets, interior and exterior architectures. Pastel and hothouse color, personalized geometry and fragments of texts all conspire to create new spaces for making thoughts visible, and for the free exercise of my imagination.
This series of drawings and paper-based experiments over the past several years form a body of explorations of the real - beyond representation and into that which is really real. These drawings incorporate walking and physical manipulations, excavating via markmaking - understood as a point moving through space, which can be a mark made on paper, a series of illuminated pixels, or a body’s path made by going through a walk. The crumpled drawings began with the cliché of crumpling up the paper upon which one had started a bad drawing or had a bad idea, to toss in the wastebasket. Upon unfolding and attempting to flatten the paper, the paper’s original sharpness and crispness is lost, and one is left with a surface that is softened and flawed. The creases mar the surface and are impossible to avoid. Rather than begin a drawing with a fresh sheet of paper, I attempted to work with the flawed body, and work within the creases, indeed making them a vital part of the composition. These creases as well leave the drawing no longer flat but textured and 3-dimensional. The resulting drawings are evidence of a phenomenological existing, and are left to be considered as such.