I am particularly interested in the limitations of photography and how it excludes, with precision and accuracy the depth and complexity found in the imperfections and faults of a drawing. The fragility of charcoal, with its tendency to smudge and fade, adds a sense of vulnerability and invites the viewer to consider the fleeting and impermanent nature of things.
The use of charcoal, the metaphor for the alchemical process of Nigredo, representing the dissolution and decomposition of matter, which is created through burning and purifying wood - a by-product of intense light, is a nod to its historical use as a "primitive" recording tool during magical dance rituals in prehistoric times, inside caves. My research aims at the abstraction of the club image, breaking it down to its essential components of form, light, and shadow, which I refer to as a clubscape.
The subtractive nature of the eraser is a critical aspect of my process, acting as an anti-drawing tool and involving the subtraction of marks rather than the addition of them. I work backward, anticipating the final image, creating an open system where the precision and inaccuracies create a balancing act between positive and negative associations of non-linear brain-like processes.
If a photograph captures a single moment, stopping time, the making of a drawing captures multiple moments layered together in a single frame, generating time with a sense of movement.
2022 - On going