Abstract
This chapter, focuses on a body of practice-based research called Breath Drawings made during three residential visits to Gordon House, Margate, UK. These visits took place between May 2018 and November 2019. Culminating in an exhibition called Returning Now (November-December 2019).
I will discuss the experience of drawing in situ as being resident. I describe a drawing practice which allows an experience of the physicality of place not as something we observe and record with a detached eye, but rather something we live in, something we inhabit as developing a visceral relationship to the world. By this I mean, how the act of drawing on location, through a non-representational, repetitive, tactile process allowed me to make manifest specifics of a domestic space in the process of transition. In tandem, this investigation enquired into a comparative relationship between mediation and mindfully drawing which enabled me to begin to configure, make sense and communicate my experience of drawing as an embodied activity.
In doing so an attempt is made to weave together different discourses, through a methodology that is essentially phenomenological, yet draws explicitly from the pragmatism of John Dewey. Underpinning this, I will situate my artistic research in the context of an embodied and phenomenological enquiry, as an experiential, subjective based methodology. I put forward a case that artistic research can be a form of knowledge that is situated and embodied (Dewey 1934/2005, Johnson 2007, 2010, Shusterman 2000, 2008, Jacob 2018).
I will discuss the experience of drawing in situ as being resident. I describe a drawing practice which allows an experience of the physicality of place not as something we observe and record with a detached eye, but rather something we live in, something we inhabit as developing a visceral relationship to the world. By this I mean, how the act of drawing on location, through a non-representational, repetitive, tactile process allowed me to make manifest specifics of a domestic space in the process of transition. In tandem, this investigation enquired into a comparative relationship between mediation and mindfully drawing which enabled me to begin to configure, make sense and communicate my experience of drawing as an embodied activity.
In doing so an attempt is made to weave together different discourses, through a methodology that is essentially phenomenological, yet draws explicitly from the pragmatism of John Dewey. Underpinning this, I will situate my artistic research in the context of an embodied and phenomenological enquiry, as an experiential, subjective based methodology. I put forward a case that artistic research can be a form of knowledge that is situated and embodied (Dewey 1934/2005, Johnson 2007, 2010, Shusterman 2000, 2008, Jacob 2018).
| Original language | English |
|---|---|
| Title of host publication | Drawing Heritage(s) |
| Editors | Nevena Tatovic, Shajjad Hossain |
| Place of Publication | Ever, Portugal |
| Publisher | UNESCO Chair UNESCO Chair in Intangible Heritage and Traditional Know-How, Universidade de Évora. |
| Pages | 14-25 |
| Number of pages | 114 |
| ISBN (Electronic) | 9789727781982 |
| ISBN (Print) | 9789727781982 |
| Publication status | Published - 25 Jun 2021 |