TALES OF THE UNSEEN -

Returning to my original medium, drawing, I see in these drawings the influence of my experience with other media. An expression of my own visual conditioning through an interdisciplinary practice as a dancer, choreographer, videographer, draughtsman and sculptor. From the 200th drawing onwards, bodies (parts of bodies) suddenly blended into the architectural elements. I explain this as a byproduct of my visual and physical conditioning on the basis of my previous work, the video piece SCRUPUS, in which body, architecture and film in balance trigger the earth’s gravitational pull and transport the viewer into a dream world. The clearly worked out formal language expresses a lot of what I investigate with other media. I see it as my signature.

The origin of this work is based on the resumption of a drawing practice as a balance to work in front of the computer. The short timespan it takes (10-20 minutes) to draw one and the handy format enable an everyday and location-independent practice, which facilitates continuity. When drawing, the body independently formulates movements that take shape on the page. Rhythmic images are constructed via a feedback loop of intuitive movement and analytical observation, whereby spaces intertwine, new perspectives open up and dissolve again in the same stroke. The reduction to specific black lines gets to the heart of my interest in the medium (drawing). I understand and use it as a relic of movement. For me, the drawing style is evidence of a system of movement trained and developed over decades through my dance practice and the accompanying training of my sense of space. In the developed drawing language, folded bodies seem to mix with abstract, urban architecture. Dynamic movements generate continuous forms that are accentuated by sharp changes of direction. The drawings are manifestations of landscapes that pass before my inner eye. The gaze can wander continuously, from one line to the next, endlessly. Through this wandering, I hope to achieve an immersion in the landscape, the body and moment, so that a meditative state can be achieved.