Draw a line and follow it

A series of conceptual drawings with pen and ink on paper, 2020

CONCEPT:

The main idea for this series of drawings is to relinquish subjective intentionality by following a simple rule, and to allow chance to introduce unexpected variations, so as to unleash the potential of the process. The process is simple: I first generate some random patterns on the paper by splashing liquid, or tearing a part of the paper. Then I carefully trace the edges of the stain or the tear. This produces the first line (or group of lines.) Next, I try to copy the first line as faithfully as I can, focusing on replicating its formal and energetic tendencies. Variations introduced by accidents become part of the lines to be copied in the next iteration. I repeat this process, WITHOUT further aesthetic judgement otherwise, until the lines reach the four edges of the paper, or I decide to stop.

The process seems to serially amplify the tendencies in the line. Very often, it acquires a feeling as in a meditation. The resulted images sometimes resemble tree rings, or bodies of water, or mountainous terrains. Most of them carry a feeling of a record of the passing time. Indeed, the time passing during the drawing process is acutely felt since each iteration of the lines takes on average 15 minutes to draw. And despite the relatively small size of these drawings, their scale feels vast. Sometimes it feels like the lines together ‘manifest’ an otherwise invisible energetic field on the paper.

In addition to the drawings based on the original process described above, the experiments also evolved in several other directions. See below for sample works in each category.

EXHIBITION HISTORY:

The de Young Open at de Young Museum, San Francisco, October 2020 - January 2021
OSTEN Biennial of Drawing Skopje 2020, Special Jury’s Award, National Gallery of N. Macedonia "Mala Stanica", N. Macedonia, Oct - Dec, 2020

ACKNOWLEDGMENT:

This series of work was set in motion by a performance commissioned by the Art Gallery of Larger Victoria. The performance was part of the convening “In the present Moment, Buddhism and Contemporary Art”, organized by Haema Sivanesan in British Columbia, Canada, 2019.

The original concept series

Samples of the drawings based on the original concept and process described above.

#1, pen and ink on paper, 11x8.5” [First in the series. A stain was accidentally left on this page from a wash on the previous page. I traced the edge and repetitively copied the line, including the accidental variations.]

#11, 12x9" [This piece began with a torn edge on the paper.]

#21, pen and ink on colored pastel paper, 16x12" [Selected by de Young Museum for the 'de Young Open'.]

The Aura Drawings

The drawings in this series each starts with an initial contour that is a recognizable image. The drawing ‘grows’ as its aura, using the process described above.

"The Aura Of A Carnation", pen and ink on paper, 9x12”.

[The pen is frequently dipped in water, which stays on the surface of the pen and randomly drips down to the tip during the drawing, at which point diluting the ink and producing a ‘pool’ in ef — "The Aura Of A Carnation", pen and ink on paper, 9x12”. [The pen is frequently dipped in water, which stays on the surface of the pen and randomly drips down to the tip during the drawing, at which point diluting the ink and producing a ‘pool’ in effect. The waviness of the paper is caused by the water and is intentionally preserved.]

"Draw A Line And Follow It Inward (The Buddha In Me)", pen and ink on stock paper, 8.5x11”

[Starting with a contour of a familiar seated Buddha, the replication process goes inward to produce this image. I stopped when a figure emerged inside the co — "Draw A Line And Follow It Inward (The Buddha In Me)", pen and ink on stock paper, 8.5x11” [Starting with a contour of a familiar seated Buddha, the replication process goes inward to produce this image. I stopped when a figure emerged inside the contour lines. Note the ‘tributary’ effect of the ink slightly soaks into the stock paper.]

"Picasso Light Drawing", pen and white ink on black paper, 11 3/4x16 1/2”
[Collection of the "OSTEN Biennial of Drawing Skopje".] — "Picasso Light Drawing", pen and white ink on black paper, 11 3/4x16 1/2” [Collection of the "OSTEN Biennial of Drawing Skopje".]

"Ship At Night", pen and ink on colored pastel paper with a torn edge, 16x12”

[The torn edge is traced repeatedly. Every 10 blue strokes are followed by a white stroke.] — "Ship At Night", pen and ink on colored pastel paper with a torn edge, 16x12” [The torn edge is traced repeatedly. Every 10 blue strokes are followed by a white stroke.]

The Modular Drawings

In this series of drawings, several ‘modules’ are first established with the initial boundaries. Then within each module, the same drawing process takes place.