The time of the work is the time of its arising. The space of the work is the given of the sheet taken as a frame on infinity. These drawings break the edge and make an evocation of presence through a density in a fugitive field. The works attempt to render the body as a field and to feel the body not as a knowable object, but a subjective space of becoming. Emergence and dissolution are equalised. The fugitive nature and the unpredictability of the behaviour of the pigment and casein, floated on a well-soaked, hand-made linen paper, results in a wide range of reaction between carbon and water. Each is the result of an experiment in which the elements are allowed to interact with the minimum of intervention. I keep those that have the right sense of aliveness. The drawings register a moment of lived time, not as an action but as a state: becoming part of space and time. This is an active dispersion, not the melancholy of entropy, but a conscious dispersion into endlessness. Without wanting to over-determine the feel of these works, it is an attempt to unify an internal and external atmosphere. Perhaps weather is the best description of emotion and perhaps there is a way that emotion itself can become weather. There is a sense of waiting that is connected with presence or the arising of awareness. The different forms of these drawings surprises and terrifies me. They are about a loss of control and are made through a loss of control.
As a list, the concerns of the BODY DRAWING series could be as follows:
An evocation of presence.
A test of a bounding condition.
The evidence of an event.
A density within a fugitive field.
The body as a field.
The body as an unknown space.
The register a moment of lived time.
A state of becoming.
Being part of space and time: a dispersion.
Unifying internal and external.
Emotion as weather.
A register of loss of control and made through a loss of control.
Antony Gormley, 2014.