Hammerite on canvas, 155x100cm. 2010 MARIO ESTEVES
http://marioesteves.tumblr.com/
http://pequenasebentapreta.blogspot.com/
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Saturday, 11 September 2010
Sunday, 5 September 2010
Saturday, 4 September 2010
Monday, 16 August 2010
The Critic Sees by Jasper Johns
The Critic Sees by Jasper Johns
You can now read John Holt’s answer to the question “What is Contemporary Art?” at Escape into Life. I think the questions he raises deserve a response.
He begins by saying that Kandinsky “anticipat[ed] a new era of spirituality and meaning in art, a new evolutionary stage in consciousness”, adding, “of course, that did not happen.” He then goes on to argue that “contemporary art” is a phenomenon of modern Western culture. Moreover, it is “phenomena…controlled by an agenda, a shifting cannon defined and leveraged by marketers and academics of taste within the Western Eurocentric tradition.” This is seen in contrast, he argues, to “non-Western preindustrial cultures” where art is “woven seamlessly into ritual, myth and everyday life.” And this begs the question: “Whose art is it anyway? What purpose does it serve (the people)? Is “contemporary art” authentic in any way and if so to whom?”
So far so good. But now Holt states that since contemporary art is a phenomenon of modern Western culture, then consequently the answer to those questions must be: “a white male continuum from the Italian Renaissance.” Which means, of course, that everyone else is “marginalised”, “unacknowledged” and “even derided”.
So far Holt has said nothing that I might take issue with, apart from thinking that his position is an extreme one. Taking such a stance can be useful for the purposes of debate. But of course having drawn into question the matter of who “controls” the conversation on contemporary art, Holt is not content to end it there. Given what he has said so far, one might think he fights for the people, that he would like to see the conversation undertaken in an arena where the common folk determine the path of inquiry. Therefore he begins by quoting Loretta Sarah Todd, a Métis/Cree filmmaker:
But what of our own theories of art, our own philosophies of life. Our own purpose for representation? By reducing our cultural expression to simply the question of Modernism or Post Modernism, art or anthropology, or whether we are contemporary or traditional, we are placed on the edges of the dominant culture, while the dominant culture determines whether we are allowed to enter into its realm of art.
And here is the line in the sand that Holt draws. All of these art terms–even the question itself—he argues, are controlled by white men in modern Western countries.
We need to hear from The Others. This is what I take from Holt’s response to the question. And still, all well and good. I agree. It is the argument for hearing the voices of those who have been suppressed. Is that why he then goes on to say that “Art is the linguistic outpouring of the present moment”? Linguistic. There is no room in that term for a metaphorical reading of the languages of visual forms. Linguistic means the language of words. Here is where I begin to have trouble with Holt’s position. It’s not a minor point. From here Holt goes on to argue that “some aspects of modernist and contemporary art practices is a form of exploitation” of marginalized people, by “appropriating” their ideas and using them as “an exciting “other”…to spice up the narrative of the Western mind in search of something new.” Now the enemy is the Western artist himself, almost always a white man, keeping The Other down in a selfish search for novelty. To be exact, this is the enemy as it has been handed to us as the official story.
But that’s unacceptable. Did Picasso, for example, exploit Africans by appropriating some of their forms and ideas? If so then he also “exploited” clowns, bulls and bowls of fruit. He did not exploit them by virtue of his success. But his success did allow others to exploit them. And we all know who they are: dealers in African “artifacts”. If Africans are pushed to the margins in a consideration of Picasso’s art, it’s not because he did it. On the contrary, he loved and celebrated their work. Who then does the exploiting?
Holt thinks that Duchamp helped to initiate this questioning or deconstruction of the official story. And he ends his article with a description of a story by J. R. R. Tolkien. It’s not the fact that they are both white men, both representatives of that Western tradition that is odd. It is that Duchamp, probably more than any other single artist, influenced the particular discourse on art that we all participate in today, and that Tolkien actually stands apart from it. How to explain this odd contradiction?
In short, what is at issue here is who will “control” the conversation. This is the issue that Holt raises. By combining these two highly unlikely sources—Duchamp and Tolkien—Holt himself is attempting to get a handle on the discourse. And why wouldn’t he? Isn’t that what writers do? Just as Loretta Sarah Todd wants her voice heard. Not to drown everyone else out, but to be a participant. Duchamp is the darling of modern art discourse, the champion of discourse on art as art. The Authority. To somehow cobble that with the story “Leaf by Niggle” is to attempt to garner some control over that discourse while maintaining a support of the common lot—all of the marginalized others, the “little” people, to use Tolkien’s word. It’s a word he uses over and over in that story, which drips with sentimentality for the “little” guy of no consequence, just trying to get by. It’s hard to miss the overseers in the story who determine Niggle’s fate. Who are they?
“Leaf by Niggle” is more than sentimental and patronizing. It upholds the populist love of illusionistic art. It is not quite clear if Holt upholds populism in the arts, but it’s important to remember that one can give an arena to the voices of marginalized people without patronizing or romanticizing them.
Finally, Holt says, “And so I have the fanciful notion that all living artists, poets, musicians, dancers, dramatists, novelists, sculptors are somehow making art in preparation for a future existence into which they will enter at the point of their death.” Back to Kandinsky. We have here the notion of an artist as someone who has no active role in making the world here and now. Jean Dubuffet’s statement does not mean that artists abdicate the discourse on art, but that they will always complicate it—and I’m very glad that they do! Yes, they envision other worlds, but not because they are disengaged from this one. If all they are doing is preparing for a world that can only arrive after their death, then that leaves the conversation in the hands of academics, critics and businessmen. The most I can say for this position is that The Stranglers wrote a great song about it: Everybody Loves You When You’re Dead.
Mark Kerstetter steals time away from restoring an old house in Florida to write and make art. His poetry is forthcoming in the July 4th issue of Unlikely Stories and he is the author of the blog The World Before the World Wide Web.
BIBLIOGRAPHY
http://www.escapeintolife.com/essays/whose-art-whose-agenda/
BIBLIOGRAPHY
http://www.escapeintolife.com/essays/whose-art-whose-agenda/
Wednesday, 19 May 2010
"ART IS WHAT MAKES LIFE MORE INTERESTING THAN ART" Filliou R.
I am one person and I am no person.
I understand more when I feel confused.
I don't say what I know but I talk about what I don't understand.
And in conclusion I might be fully present when I feel lost.
Mario
I understand more when I feel confused.
I don't say what I know but I talk about what I don't understand.
And in conclusion I might be fully present when I feel lost.
Mario
Wednesday, 5 May 2010
"BLACK PAINTINGS"
The series painting of “Black paintings” is created between other series of works in these recent months. The idea came from my thoughts and the question generated in my practice. To my thinking, the most charming quality of the blackness is that it reveals the dramatic between representational signs of desolation and lyric statements. Stormy weather can be represented by the motion of the brushes; drama and contrast can be shown by the different tones embedded on Hammerite.
As a trick of metaphor, it is the blackness which evokes the meaning, not the drawings. The Charcoal expression is one signifier replacing another signifier. The landscape is not a representational depiction of a natural subject but to reveal its meaning through its splitting from it’s signified subject. “Black paintings” is not painting mimicking landscapes, but the similarities between this subject.
These images not only give us disordered and impermanent experiences, it also offers different profiles of the image making. These images produced are the metonymy of drama. However, within the sense of the desolation, drama is not an element of what has being produced, but in the process of producing such reality. The existential wonder of the individual’s chance dwells in the uncanny feeling of the infinitude; every element in the painting prefigures finitude and infinitude. It only appears not in a long term contemplation but in a short glance.
My interpretation of stormy weather ideas is all through my recent paintings which have been inspired by artists such as John Virtue, Norman Acroyd, Tacita Dean and John Piper, lyric readings from Charles Pierre Baubelatire and Luis de Camoes. In the making of “Black paintings, one color of hammerite is used on the process to embody the concepts of romance and drama. Black is also a visual representation of the dark, bleak and tragic.
Mario
Sunday, 2 May 2010
"ART IS WHAT MAKES LIFE MORE INTERESTING THAN ART" Robert Filliou
LUIS VAZ DE CAMOES, selected poem.
Let Love search for new arts, a new talent
to kill me, and new indifference;
for it cannot take away my hopes,
for it will have difficulty in taking from me what I do not have.
See with what hopes I maintain myself
See how dangerous my safety is!
For I do not fear contrasts or changes,
sailing on the rough sea, my vessel lost.
But, although there cannot be any grief
where there is no hope, Love hides
from me an evil that kills and cannot be seen.
For there are days that have placed in my soul
an I know not what, that is born I know not where,
appears I know not how and hurts I know not why.
Translated By Google
Saturday, 1 May 2010
ADIEU TO COÏMBRA
by: Luis Vas de Camões (1524-1580)
WEET lucent waters of Mondego's stream,
- Of my Remembrance restful jouissance,
- Where far-fet, lingering, traitorous Esperance,
- Longwhile misled me in a blinding Dream;
- From you I part, yea, still I'll ne'er misdeem
- That long-drawn Memories which your charms enhance
- Forbid me changing and, in every chance,
- E'en as I farther speed I nearer seem.
- Well may my Fortunes hale this instrument
- Of Soul o'er new strange regions wide and side,
- Offered to winds and watery element;
- But hence my Spirit, by you 'companied,
- Borne on the nimble wings that Reverie lent,
- Flies home and bathes her, Waters, in your tide--
- Translated by R.F. Burton
- http://www.poetry-archive.com/c/adieu_to_coimbra.html
Tuesday, 27 April 2010
“A Professional Secret
Image-Making Begins with interrogating appearances and making marks. Every artist discovers that drawing - when it is an urgent activity – is a two-way process.
To draw is not only to measure and put down, it is also to receive. When the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one, through the appearance of whatever it is scrutinizing.
To draw is not only to measure and put down, it is also to receive. When the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one, through the appearance of whatever it is scrutinizing.
The encounter of these two energies, their dialogue, does not have form of question or answer.
It is a ferocious and inarticulate dialogue. To sustain it requires faith.
It is like a burrowing in the dark, a burrowing under the apparent. The great images occur when the two tunnels meet and join perfectly. Sometimes when the dialogue is swift almost instantaneous, it's like something thrown and caught.”[1]
It is a ferocious and inarticulate dialogue. To sustain it requires faith.
It is like a burrowing in the dark, a burrowing under the apparent. The great images occur when the two tunnels meet and join perfectly. Sometimes when the dialogue is swift almost instantaneous, it's like something thrown and caught.”[1]
A Professional Secret first appeared in New Society Magazine, 1987.
Published in Keeping a Rendezvous by Granta, 1992.
Sunday, 25 April 2010
WHY PAINTING?
"Gathering the now proposing the next"
Having worked on the last projects with printmaking, drawing and painting I become fascinated with some qualities that each medium possessed. For example with printmaking the marks, tonal variations caused by aquatints, sugar lifts, the biting of the acid in conjunction with sepias and whites were for me relevant not only on the proofs but also on the metal plates.
Having worked on the last projects with printmaking, drawing and painting I become fascinated with some qualities that each medium possessed. For example with printmaking the marks, tonal variations caused by aquatints, sugar lifts, the biting of the acid in conjunction with sepias and whites were for me relevant not only on the proofs but also on the metal plates.
The qualities of the mark made by the instruments used on drawings, the different range of felt tips of one color, the chiarosescuro qualities of a composition, the harmony on the image was again qualities that I felt attracted to. The dramatic contrast of charcoal in contrast with the empty space of the page, the rubbing and smudging of the lines.
The earthy quality of the chalk and charcoal together with the blackness of the ink, the glossy elements of some paints had for me references to a natural way of depicting the spatial elements of an athomosphere
I wanted somehow to do one thing that embraced all of what I had previously experienced and felt fascinated with, borrowing elements from each of processes. Extracting the essence of the metal plates that I felt in tune with, making them into pieces of work. Applying the dramatic tonal compositions from my drawings to develop a new way of working, to turn them into pieces of Art.
It seemed natural to me to paint with metal paint, making direct incisions on the canvas or board. To scratch them and let them speak through their own means as forms of metaphorical landscapes, like birds flying freely on the jet stream of the sky.
Choosing a restricted pallet of black and white to describe a certain subtleness. It allowed a connection between tension and harmony, balance and commotion, contrast and definition, with the dramatic perceptions that they already possess speak for them selfs. Like the storms overwhelming the skies.
Instinctively the pieces of work claimed bigger sizes, my gestures and physical actions could direct and influence the aspects of the mark and influence the next step, where to put it and in what direction.
Serendipity plays much on these actions they are random movements created by my arms, brushes and thickness of the paint. A variety of brushes sizes are used to make different marks and design aspects that become hidden until you look for it.
With actions without expectations, letting the canvas speak and do what the work wants to do, it becomes the initiator and the instigator of meaning.
My methods are simple. The canvas or board is first prepared with white chalk emulsion mixed with PVA glue. While wet I make marks with several instruments, like I would when working on an etching or dry point and let them dry hard. A coat of wood primer (oil based) is then applied on top and again more drawing is made.
The black Hammerite paint is applied as the top layer, when all of the other paint is completely dry. The viscosity and density is made with several sizes of brushes, just like I would do with felt tips when drawing.
They take some time to be prepared and to be completely dry. Each of the layers needs to be solid to receive another one on top.
Also I mix thinners and spirits with my paint to achieve different tones and create contrast. This plays an important part of the making of any of my pieces.
In summary I have an extreme affinity to my sketchbook work, they are crucial in my methods and process development. My still life drawing and etching have worked as catalyst with my new work. Having experienced the process of both disciplines I have become aware of what I liked and didn’t like, what I could and couldn’t apply in different ways. This resulted in a different way of painting.
I think this work is critically more interesting than anything else’s that I have done before, however I wouldn’t consider it better or more engaging than any of my drawings.
Mario
Friday, 9 April 2010
A thought…
There is a tangible presence of hands in my artwork, meaning; it is handled, touched, dirtied and worked on. It contains the imprint of the instrument that made it, the pencil, the pen, the paper, the brush and the paint. There is an awareness of the connection to humans and the mementos they possess.
I want to create an art that is arresting, yet familiar, like a memento you find tucked away in between the thoughts of a romance. In an effort to harmonize my media with my message, I construct work out of the romantic encounters; poems and the little things that slip away into memory and sometimes become forgotten.
This voyeuristic impulse has inspired me to create drawings, paintings and prints incorporating the poetry that I find so enchanting. The process is instinctive and casual in choosing the objects and subjects but structured, layered and designed so the different elements harmonize to produce an artwork that is wholly nostalgic.
I want to create an art that is arresting, yet familiar, like a memento you find tucked away in between the thoughts of a romance. In an effort to harmonize my media with my message, I construct work out of the romantic encounters; poems and the little things that slip away into memory and sometimes become forgotten.
This voyeuristic impulse has inspired me to create drawings, paintings and prints incorporating the poetry that I find so enchanting. The process is instinctive and casual in choosing the objects and subjects but structured, layered and designed so the different elements harmonize to produce an artwork that is wholly nostalgic.
Mario
Sunday, 4 April 2010
Why do I make art?
When someone asks me about my art or what does it mean? I feel terrible awkward to respond.
I am always in love or feel lonely; love, nostalgia, melancholia or the need to create are a part of my heartbeat. Words wouldn’t be enough to express these; the need to create is like a volcanic activity within my soul.
Art is for me my way of letting this eruption surface to communicate what I feel, art is a friend that satisfies this desire of creation.
Art is for me my way of letting this eruption surface to communicate what I feel, art is a friend that satisfies this desire of creation.
I have always felt detached from reality and reluctance to involve myself in the normal working life, fitting in or making part of it because I am thinking all the time. I make art because there is nothing else’s that I like to do and that I could do to express myself.
I have tried not to do art but that became painful, my mind has been heavy with ideas and thoughts since a very young age. I always feel separated from friends because my mind wonders from one thought to another; there isn’t much that I can do about this.
Doing art for me gives me the opportunity to create and visualise my subconscious, setting it free from the restrictions of my head.
I have tried not to do art but that became painful, my mind has been heavy with ideas and thoughts since a very young age. I always feel separated from friends because my mind wonders from one thought to another; there isn’t much that I can do about this.
Doing art for me gives me the opportunity to create and visualise my subconscious, setting it free from the restrictions of my head.
Mario
Saturday, 3 April 2010
Charles Pierre Baudelaire selected poem:
“The Jewels
My darling was naked, and, knowing my heart, she had kept on only her sounding jewels, whose rich array gave her the all-conquering look that the slaves of the Moors have in their happier times.
When, as it moves, it throws out its sharp, mocking sound, that glittering world of metal and stone ravishes me into ecstasy, and I love to distraction things where sounds is mingled with light.
She was lying there, then, and letting herself be loved, and from her vantage point on the couch she smiled happily at my love, deep and gentle as the sea, as it rose towards her as if to its cliff.
Her eyes fixed on me like a tamed tiger’s, with a dreamy, vague look she tried out new poses, and the combination of candour and lubricity lent a new charm to her various shapes.
And her arm and her leg, and her thigh and her hips, smooth as oil, undulating like a swan, passed before my eyes, all seeing and serene; and her belly and her breasts, those clusters of my vine.
Thrust forward, more tempting than the Angels of evil, to trouble the state of rest my soul had entered, and to displace it from the crystal rock where, calm and alone, it had seated itself.
I felt I was seeing, by some device, the haunches of Antiope joined to the torso of beardless youth, so strongly did her waist set off her pelvis. On that wild, brown skin the make-up was wonderful!
And the lamp having died down at last, as the fire alone lit up the chamber, every time it heaved a flaming sigh, it flooded with blood that amber-coloured skin”.[1]
[1] Baudelaire C. P. Selected Poems, C. Clark 1995 Penguin Classics, Clays ltd, St Ives Plc pages 151,2 and 153.
Friday, 2 April 2010
Drawing stories and myths
"When Nasa first started sending astronauts into space, they realized that the ballpoint pen would work at zero gravity. A million dollar investment and two years of tests resulted in a pen that would write in space, upside down, on any surface and that at any temperature from below freezing to over 300 degrees centigrade. When confronted with the same problem, the Russians used a pencil."[1]
“ The classical Greek story describes an act of tracing by the potter Boutades’ daughter. She is distraught that her departing lover is about to set sail, perhaps never to return. Whilst he sleeps, she watches, and draws around the shadow his face casts upon the wall with a burnt coal that she takes from the fire”[2]
“In Walt Disney’s Peter Pan, the 1953 adaption of JM Barrie’s novel of a journey to and from Neverland, a shadow provides the meeting point for the sweethearts rather than the moment of parting. Peter first meets Wendy while searching for his shadow, which he has lost…Peter finds his shadow but it tries to escape him, only eventually being caught after much tumbling through the drawn space of the nursery.”[3]
Sunday, 28 March 2010
The firts Drawing
Drawing as almost a perpetual state for humanity and it predates and embraces writing.[me1]
"Barnett Newman swore that the first man, who happened to be an artist, made the line in the dirt with a stick, creating the first drawing and simultaneously the first art work”[me2]
To comment on this statement from Barnett Newman I would say this is perhaps true and the reason I say it it’s because Mankind started at prehistoric art representing the world in caves. These nomad tribes would depict the content of the landscape according to seasons and live stock.
Those drawings made with broken charcoal, limestone, chalk and other rocks illustrated artistically, were and when I that place you could find nutrition and other needs in an unpretentious way.
These representations at the Chauvet Cave, Ardech in the south of France and Altamira in Spain ‘to name a few” are examples of memory and observation drawings. The way that they have being made, the marks, composition, proportions and intentions evoke in my opinion what drawing is about.[me3]
Drawing taps the inner meaning of things as it formulates visual metaphor. This alliance, “process of drawing” and “capacity of wonder” have made part of humanity history well before medieval age witch makes drawing the earliest and most immediate form of image making. The qualities of this medium have remained unchanged for thousands of years, the magical qualities and its immediacy reinforce the effects of wonder and imagination and those still today as important.[me4]
Drawing and today
Today artist are using drawing in other aspects, the conceptual and theoretical discourse that allow the artist to communicate in a loose way. Today the use of this media isn’t conferred to a set of rules on what drawing is, but rather in its capacity of talking and thinking in a particular way.
This media expresses authenticity and freedom.[me1]
This processed-based medium also connects the artist with physical world and connects the viewer with the artist.
These appealing components are today described and used by contemporary artists and also in the way that drawing is conceived of, made, used and categorized by some institutions or critics.
Much of the contemporary artists express ideas from the romantic surrealism period.
The storyteller, the narrator and the poet are today used in visual arts most concretely in the drawing scene.
Themes such as liberty, the sublime, emotion, intuition, the romantic, the vernacular and ephemeral are also the more common choices.
Artists such as Zak Smith’s and Elizabeth Peyton’s uses drawing like an analogue narrative of the revolution on the music scene. Based on photographs from magazines or books the hairstyles, the music instruments, the loved ones are a part of his subject matter. Their artwork is an intimate diary of fandom and friendship.
Raimond Chaves uses drawing like conceptual artists used photography in the 1960’s 1970’s using drawing as vehicle to convey information about social conditions.
Jim Shaw, Andrea Bowers and Julian Hoeber uses words such as appropriation, to describe his work with his second hand drawing “copy’s”, referring to a pop-ish style of tracing the contours already made from a picture. Bowered techniques from similar disciplines such as illustration and product design, felt-tip pen, ink, pencil and other medias are used to make pictures of pictures. The gradation of tone and the equality of lights and darks are extracted from the internal contents of photographs. This bypass from originality, are not the focus of these artist but rather the aesthetics of sensibility that are rotted on those already existing drawings.[me2]
Kai Althoff, Kara Walker uses drawing to convey popular culture and national culture opting to use figurative style, intimate scenes, sensibility, melancholy, loss and some pleasure.
Similar to illustration this could fall into the derogatory context of art, however these artists and more such as Shahzia Sikander and Jockum Nordstrom embrace this figurative drawing and styles of vernacular illustration with purpose and without sarcasm.
They are Romantic in inspiration and representative of storytelling, folk and novel’s, however they are not made to comply with a brief that as being commissioned.
They are easy to understand close to traditional methods with genuine expression to create delicate contemporary work and according to "Walter Benjamin, one measure of an artwork is its accessibility."[me3]
Drawing now can be from all types the connotative, the denotative; from the performative or narrative its emancipation is welcome now with the fine art context.
Swiss contemporary artist, Ugo Rondinome produces a distinctive depiction of nature directly onto his tiny sketchbook. Rondinone’s drawings come directly from nature and are later on at the studio-appropriated enlargements of his journeys on the landscape and Swiss Alpes.[me4
Ugo light and dark method to get close to the natural elements of nature, they have a feeling of chiaroscuro, charcoal, inky drawing.
OTHER METHODS AND CONCEPTS
In the 1960’s artists such as Richard Serra, Bruce Naumman, Robert Morris, and others approached drawing in my opinion in a very theoretical way. "Theysubscribe to a sense of time and the abstract object. These very conceptual notions of entropic forms, physics, thermodynamics and energy became objectified." [me1]
These concepts of temporary drawing, the transitive and the contingent as a process and became a way of recording an action or intellectual statement, sometimes used to visualise ideas, plans for installations, sculptures. These drawings had a different look from the traditional and contemporary drawing they would allow the artist to theorise visual aspects to explore and evolve well before any physical work existed. They would inform the artist of its intentions, they existed with the purpose of being work that could exist as finished. They would exist as Richard Serra said.
“ There is no way to make drawing-there is only drawing” Richard Serra, anything you can project as expressive in terms of drawing- ideas, metaphors, emotions, language structures- results from the act of doing.”[me2]
“ There is no way to make drawing-there is only drawing” Richard Serra, anything you can project as expressive in terms of drawing- ideas, metaphors, emotions, language structures- results from the act of doing.”
To extend these ideas further drawing also was released from the page, it became a line made by walking on the landscape in circles or straight or with a performance status.
Norman Bryson makes comments on the white background of the blank page of our contemporaries. He says the blank space being “perceptually present but conceptually absent."[me3]
This also contrast drawing with other means of expression, whereas painting uses the back ground to exist and to compose a structure.
He also says that the line moves in a confined path and space, freed from the need to consider the totality, “where the hand is now in parentesis”.[me4]
As well another interesting point that might allude to honesty and transparency arising from the act of drawing is this informality and presence in the absent space of the background.
Walter Benjamin writes ”the graphic line marks out the area and so defines it by attaching it self to it as its background…so that a drawing that completely covered its background would cease to be a drawing…the pure drawing will not alter the meaningful graphic function of its background “leaving it blank’ as a white ground”.[me5]
I think these are really interesting ways of looking at drawing in contrast with other means of expression and that is because it reinforces drawing capacity for wonder and imagination.
Nevertheless I believe these are references and comments made about the intended unfinished drawing, line drawing or even blind drawing.
Where in my opinion these ideas and points of view fit these descriptions.
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