Cinematic Drawings

‘Angel Face’ Graphite on Paper
‘Flick’ Graphite on Paper
‘Black snake’ Graphite on Paper
‘What next’ Graphite on Paper
‘Slab’ Graphite on Paper

The drawings are made from a series of digital prints where I explore the formal and compositional elements of cinematography as well as visual characteristics of electronic data transfer that relates to photography, video and film.

Each drawing consists of two film-stills I have extracted from their original context and positioned within a frame that echoes the elongated cinema screen format. By combining images from different film scenes into one picture, a new temporal and spatial relationship occurs. The images also enter into a dialogue with one another. In some of the film-stills there are subtitling, which is from the moment the picture was taken. This text adds another layer to the interpretation of the drawings. They are furthermore positioned in angular composition to each other so that they create an illusion to the viewer/observer as if he or she is looking in onto to the scene. The picture plane itself is an illusional space reminiscent of a darkened cinema theatre. They highlight the aesthetic quality that is conditioned by the various technical characteristics of electronic data transfer such as moiré and recertification. 

I am interested in mimicking the ink jet printer and the digital mark through pencil drawings on cartridge paper. I am recording the interlacing from the TV screen, the aliasing and non-synchronization, which creates a pattern frequency. The hand follows the eye, which scans over the large format digital prints then transferring this information to the surface of the paper with lead deposits. By taking the pigment over the fibers of the paper and picking up different deposits depending on the amount of pressure placed on the surface. I am reversing the digital back to the analogue using the pressure and bodily rhythms, lightness of touch, breathing and my hereditary hand shake by layering the marks to create the moray patterns and screen lines from the photographs taken from the analogue TV screens. I can graph data, engage in subtle negotiation between consciousness, technology and the surface. 

This action is recorded and speeded up with the studio sounds so that the viewer can witness the drawing process appear in seconds rather than days. The video reveals my bodily rhythms, the hand mimicking the machine and the time passing.