A Unique Line: Difference between revisions

Revision as of 20:25, 14 June 2015

A Unique Line
Creator	Junyu Chen
Year	2015
Bio	Junyu CHEN (1990, China) is an artist using video and drawing as her main tool for self-analysis to address the visual language we communicate with. She has a specific enthusiasm for depicting the process of drawing physically and conceptually, and into the way we question the current state of drawing.
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Website	http://chenjunyu.org/

Why to draw, here and now?

“Nature presents our eyes with colored surfaces to which painted areas of pigment may correspond, and with inflected surfaces to which sculptural surfaces may correspond. But nowhere does it present our eyes with the lines and the relationships between lines which are the raw material of drawing.” (Philip Rawson,Drawing). Drawing expresses the artist’s individual perception and produces a statement to the world by depicted lines. The underlying movements of the lines is the concrete documentation of this narrative. This work visualises the movements of “making” emphasing the lively and personal process of the drawing.

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 |Website=http://chenjunyu.org/
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-Line is the raw material of drawing. Each line records the unique movement of the artist's state.
+To speak about the natural truth of the process of drawing – the movement of making strokes on paper, is not a singletrack activity, it is interactive. The roughness of paper, the sound generated by the friction between paper and pen point, and the continuing change created by the lines which reflects to whole drawing, somehow triggers artist to make the next step and influence her decision making. “Each stroke had to be a decision and was answered by a new question.” (Rosenberg, 1952)
-“Nature presents our eyes with colored surfaces to which painted areas of pigment may correspond, and with inflected surfaces to which sculptural surfaces may correspond. But nowhere does it present our eyes with the lines and the relationships between lines which are the raw material of drawing.” (Philip Rawson,Drawing).
+This minimal act of drawing becomes meaningful for me through time. The continuous action gains the control to draw. It is a meditative process while trying to fully focus on holding the brush and regular breathing. I feel directly perceived through the senses that I am tracing the lines. I like this minimal way for creation, because the simplicity for expression, it leaves a lot “empty space” for viewer to imagine.
-Line is the raw material for drawing to construct different types of visual language to imply artists’ conception of reality. The simplicity of this practice makes drawing “the fundamental spiritual art activity”.
+|Description=
+Why to draw, here and now?
-“This quality of underlying movement is, of course, the special ‘charm’ of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture.”
-|Catalog-Text2=
-In the book <Tao Te Ching>, “一” is generated from Tao, and everything else is consisted by this minimal unit -- “Tao gave birth to the One; the One gave birth successively to two things, three things, up to ten thousand.” Here the “one” does not lead to any hypostatic object. It is the metaphor of the starting point of anything. For drawing, the starting point is the appearance of the motivation to draw. This concept of the raw motivation of drawing is to draw may sound obviously. Yet we do sometimes draw for other reasons, and then drawing becomes something else, something that cannot free from value.
-|Catalog-Text3=
+“Nature presents our eyes with colored surfaces to which painted areas of pigment may correspond, and with inflected surfaces to which sculptural surfaces may correspond. But nowhere does it present our eyes with the lines and the relationships between lines which are the raw material of drawing.” (Philip Rawson,Drawing). Drawing expresses the artist’s individual perception and produces a statement to the world by depicted lines. The underlying movements of the lines is the concrete documentation of this narrative. This work visualises the movements of “making” emphasing the lively and personal process of the drawing.
-For those two works, achieving a proper line is still the goal, but, the goal is not just making a perfect, straight line. The goal is achieving the natural peaceful moment. A perfect straight line will be the visualization of this. The line drawing seems goaldirected, and my goal is making these lines as close to ‘perfect’ as I can. Yet the process through which I approach this goal should occur naturally, the action of making should be triggered by the goal of “doing without intention”.
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+[[File:DSC06559_copy.jpg|700px]]
-What a drawing line is telling?
-Most of the art education I have been through has tried to force me copy others’ symbols within drawing, especially when I was very young. My example may be extreme, but everyday we are going through varying degrees of visual assimilation, such as advertisements. In a way, these symbols also construct the reality surrounding us, yet we are limited by this common symbology which is intended to make the connection between "self" and the world. We read this world directly by images. If these symbols narrows the possibilities of reading the world, does it also narrow our understanding about the world?<br/>This work is a combination of past experience and new starts, copied visual expression, and the creation from self-cognition. [[File:DSC06559_copy.jpg|700px]]
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