event may not be the right word; it may be encounter, meeting, contact. — bear with me.
the first was rather momentous in my encounters of strangers, in the woods, while in conversation with my mother, while being nominally sixteen, while roaming woods on my own, while being not from here. it was so extraordinary, and yet however so long anticipated that it pierced my conception of what was going on.
it sowed an idea of what ‘performance’, ‘expanded field of drawing’, ‘set of experiments’ for BoW may look like; i found another one that similarly important and since then two more happened.
they are 1:1 encounters in different contextual settings: (1) a door to a concert hall while exiting a large meeting; (2) a car stopping while i cross the roads between two tracks in the woods; (3) my mother showing me a corner in the train station where she would as a teenager wait before going home after school; (4) and my friend inviting me to try the garden gate of abandoned flats.
two of them (the first two, one hand touching one shoulder, then the other another while leaving a conference; and the encounter on the road) i pursued a little further, in different directions. i have the sense there are more openings within them; the latter two still only exist in record.
if drawing is about contact, an expanded field of drawing, a relational construct and a space as well as a possible absence (see my concept map), then these are the questions i can ask of these encounters. until now i would generally just play with them in writing and rewriting, posting them in facebook, narrating them and seeing what resides in them verbally. this is the first attempt to use other means.
for (2) i was recording a drawing alongside the roadside demarcation by video when i heard the car behind me braking, stopping and then he asked. all that got recorded. i tell my mother later. then i post it; then i start typing on my mother’s father’s typewriter. i write three scenarios over a few occasions and reframe the account on pages of scrap paper. the drawing is typewriter ink on my dad’s scrap paper.
i am posting all three sets in complete and chronological order as they currently are:
for (1) i begin with writing out the event, then beginning to sketch the choreography, the movement of bodies out of the concert hall, the brief meeting inside the entrance door and the moving on; later i rephotograph the see-through in the sketchbook:
— for (4–abandoned garden) i have a couple of photo sketches, and it may remain with these. for (3–train station hall) i have only a memory so far.
what interests me:
- contact: encounters, brief, random, that stick with me, that are significant, that contain movement: a coming and going; a boundary negotiated.
- the don’t exist in actual form but are translated, mediated, pushed along
- in that sense they also contain an absence, a negotiation of that
- they are each rather geographical, i mean: they are productive of space as a body/relational concept and presence.
- they are also performative (clarify what i mean with that)
- all are personally significant, they are intimate in one form or another, i make them public.