In last week’s constellation lesson we started to discuss how to cite relevant theories to support our observations. Here I’ve attempted to rewrite last week’s post about the exercise of drawing from touch and sight:
I find it interesting how my mind imposed memories onto the clip as I felt it. I came to think of a specific carabiner I thought I’d seen my dad use, and so drew the criss-crossed texture that one had on its grip instead of the vertical indentations which are visible in the second drawing. Attempting to make sense of this ‘mistake’ is the theory that ‘The familiar will always remain the likely starting point for the rendering of the unfamiliar; an existing representation will always exert its spell over the artist even while he strives to record the truth’ (Gombrich, 1960, pg.72). In other words, I filled in the gaps in my understanding with ‘preconceived prejudices’ and drew not what I felt but what I expected to feel. This would also account for why I imagined the object to be purple in colour, because the cold metal texture felt similar to a purple camera I once owned.
As a result of my own memories and experiences, by feeling the object I created a much more personal drawing than when I drew it from sight. In this way we can look at drawings as things that contain part of the maker and his/her mental world, simultaneously looking outwards and inwards, to the observed or imagined world, and into the draughtsman’s own persona (Pallasmaa, 2009, pg.90-91.). If the exercise of drawing from touch and then from sight was repeated with a group of people drawing the same object, I would expect the pictures drawn from sight to be more similar to one another. There would be fewer gaps to fill in the participants’ knowledge. However, even when drawing from sight it’s possible our memories and preconceptions still play a part and that ‘our waking worlds are made different by the differences in what engages our interest and our attention (Jastrow, 1899). We each perceive and experience our own individual reality.
Gombrich, E.H (1960), Art and Illusion, Oxford: Phaidon
Pallasmaa, J (2009), The Thinking Hand: existential and embodied wisdom in architecture, London: Wiley
Jastrow, J (1899) The Mind’s eye, Popular Science Monthly, Vol 54