To draw is to mark, to trace, to notice, to etch, to transpose, or even to print. A sheet of paper, a piece of cloth, wood, stone, skin, etc. To draw is to inscribe the surface of a support, whatever it may be, with a graphic feature that covers it and determines its aspect. If at its core, drawing is a deliberate expression of an intention (as per the Italian disegno or the French dessein), then it is through all possible forms, unto the most improbable and unforeseeable, that this intention can will itself into being. It can be deliberate,instinctual, accidental, involuntary, enlightened, blind, superficial, physical, and many other things. All in all, drawing is a generic term that cannot be encased in a definition or limited to a material, to a surface, or a thickness. It is by nature free, frank, and open.
Many an artist invents all kinds of working protocols to bring about the image they wish to reveal. One choosesphotography, another uses prints, and yet another opts fortransfers. One tattoos pigskin, the other draws on fish scales, and another uses a cuttlefish to represent the very animal. While artist A depicts a landscape by sewing its outlines onto canvas, artist B makes portraits of tattooed individuals, andartist C transforms terrible scars into singular geometric drawings. It plays out on the surface.
Given these examples, the exhibition ‘Deep Surfaces’ (à fleur de peau) presented as part of DRAWING NOW|PARIS purposefully assembles works that employ a vast array of figures and materials as well as the most diverse techniques and procedures. Here, drawing exists in all its forms, pushing against the conventional limits of normative hesitation and inviting the viewer to reconsider its nature, status, and function. Drawing – otherwise – somehow.
Philippe Piguet, Artistic Director