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Projection

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Ink on paper.
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© 2005 - 2021 amelo14
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amelo14's avatar
Laura, thanks once again for your comments and questions. Here I will not go into the title too much, maybe later on. As for your constant concern with the nature of my lines. I agree with you wholeheartedly in some cases. However, one could consider the following:

1. One would tend to think that this drawings were some of the first I ever did. However, it is quite the contrary. Against my will sometimes I have found returning to simple lines as the years have gone by. Previously you can see much more complex drawings and paintings. Some of these I have still to submit for they are framed with glass and have found it difficult to photograph them. Why have I gone in that direction? Well if I could articulate it, then I probably would realize it is a losing cause. What do I think about? First, lines without depth as a balancing of my life as a complex philosopher. Second, lines without depth as a radical critique of our modern complexity. Third, lines without depth as an economic position. In a world of vast inequalities one need only have the bare minimum for art. Lines vs consumerism. Fourth, the impact made upon me by leafless trees as I moved from the tropics of Colombia to the winters of Canada. You see, I could not believe trees could be only lines and not die. Try to think it over. Imagine a place without any seasons! Fifth, the power of the sketch as THE DNA of the final work. With the very polished sketch in place one can play with it as regards depth and colors. For this idea of twisting lines --as DNA--- see my "Des-nudo" which I already submitted and truly captivated a doctor of mine Sixth, the lines within caverns of our more primitve ancestors. Reaching out to times where we were more animals than not. Seventh, I think about Klee, Kandinsky and Euclid. Eighth, the line as the disappearance of the object, the purification of the object. Ninth, lines as a kind of elevation from the material. Tenth, and perhaps the only valid one: when will I have the time!

2. Some of these can be seen as the spines of the future paintings, but if I submitted them as scraps, there would hardly be any commentary around them. Two of my bigger works already submitted, "Soaring Sunset" and "Coupling" arose out of such simple lines. But those sketches were truly primitive. I have thought about submitting these two under scraps, but I have not had the time, nor think it would be of much interest to anyone. By the way check out my scraps for two examples of possible solutions.

3. Two options are available for their depth. One is the use of colors as I have done in "Soaring Sunset". And the other is the use of shadows as I have done in "Coupling" The first solution ONLY makes the lines wider and I am perfectly satisfied with the result. I might even consider only making the lines bigger, and even without any color whatsoever. This, I think, is the destiny of the drawings done at teh time of "Projection". The second solution I have used in many color drawings which I have not submitted and which date from 1990 to 1995. This solution may be beautiful, but the lines --as the center of attention--- are for the most part lost.

4. But in the end, "projection" is part of a series of drawings from 2000-2002 which arose as mere lines and which for the most part are finished unto themselves. They are around 50 to 100. A losing battle it seems.

5. Finally, one question for you. Why do you feel the need to make lines have depth? Why cannot lines just be lines?
laurasface's avatar
I like this one, it reminds me of a spine. what were your thuughts behind it? Why the title "projection"?
As with some of your other pen and ink drawings, i think it needs something more... more contrast, more balance between the light and dark, something to lend the lines a little more depth.