‘I have always aspired to a more spacious form
that would be free from the claims of poetry or prose
and would let us understand each other without exposing the author or reader to sublime agonies’ (Milosz, 1988: 101).
Inspired by these verses, I baptised this body of work ‘Ars Poetica’, as it distinctly describes the poetic space of drawing as a ‘more spacious form’ that has the power to bring forth tacit areas of understanding that ‘we didn’t know we had in us’ before; unknown forms of knowledge that reside within the self and that are made public, as one unveils his/her most intimate memories, feelings, thoughts and discoveries in non-verbal terms. The latter revelations disclose the artist’s ‘frailty’ as essentially private thoughts are bound to be reinterpreted, altered and at times even disenchanted to satisfy the onlooker’s personal intents (Milosz, 1988: 101).
Arguably, extensive research in the field of drawing, suggests that poetry correlates in harmony with the meaning-making process of drawing, as they both transpose private thoughts into a public paradigm, whose mysterious essence cannot be tarnished ‘under the glare of analysis’ (Sullivan 2010: 95). Bachelard’s writings on the ‘poetics of space’, provide a comprehensive account of the artist’s and the poet’s aptitudes to view the world with the eyes of the soul and not merely with the eyes of reason. Humble narratives are transformed into magical experiences of being and becoming in time and space (Bachelard, 1994).
My ‘Ars Poetica’ is intended to unite the immense worlds of form and language in a threefold journey of becoming in time, space and pure form, as the rhythmic interplay of visual and verbal elements serve as a stimulus for multiple interpretations and authentic instances of becoming that generate an ‘autobiographical record’ of the artist’s and the viewer’s acts of ‘discovery’ (Berger, 1952).
These drawings challenge the stereotypical view of drawing as a black mark making processon a whitesurface, as theyrepresent pure uncontaminated thoughts ciphered directly on paper. The three interconnected triptychs narrate the compelling allegory of forms that timelessly meander through states of being in time, coming in space and becoming in pure form. A stirring odyssey of sheer matter that transmutes from merely corporeal to ethereal states of being and come to transcend into a poetic dimension of subliminal becoming.
Dynamic white matter emerges from the silent darkness; a velvety blackness that is transformed from bare emptiness into a fullness of space, as it comes to envelope yet untold forms of being, coming and becoming. These monochromatic drawings are an interlude in time, as ephemeral matter is endowed with tangible form in a space that protects the intensity of thought. Let enlightening thoughts retain their distinct whiteness. Let unknown spirits shine against the dull blackness of the perceptible world.
Bachelard, G. (1994) The Poetics of Space, Boston, Beacon Press.
Berger, J. (1953) Drawing is Discovery [Online], Available: http://www.newstatesman.com/culture/art-and-design/2013/05/john-berger-drawing- discovery [Accessed 1st May 2017]
Milosz, C. (1988) ‘Ars Poetica’ in The Collected Poems: 1931-1987, New York: Ecco Press. Sullivan, G. (2010) Art Practice as Research: Inquiry in the visual arts, London: Sage.