The process and reasons for Drawing

Working with an archive has the same character and potential for an ongoing openness of creating: 

I give myself the opportunity to show myself where the core of my interest lies.

My written thoughts have been awakened continuously parallel to the drawing process:

Drawing goes into thinking and thinking goes into drawing.

Through the examination of the language of other’s experience of drawing, I am also able to trace mine as yet uncomprehending, intuitive knowledge of drawing linguistically, to find formulations.

In the form of a growing archive, this collection turns into inner crossings and entanglements and becomes independent. This open format and the free, associative style of writing, which makes use of the ambiguity of the poem, have been deliberately chosen. Everything should linger and resonate, everything should be allowed to breathe.

The recorded process is an open thinking and acting into the future. Knowledge does not automatically give rise to realisation, but in my opinion I recognise only the inner constitution of things through the uncalculated falling into (or is it a falling on me?) experiencing and discovering. In the process of finding, the necessity of a pure pointing out in the exterior applies in order to discover my "inner" interest.

It behaves similar to the moment of drawing:

I put words like I do in drawing a line that guides me in reacting.

Reaction itself cannot come out of itself; it needs external influence to be sparked. But as soon as it is set, it is an automatic changing of action and reaction that keeps itself running. Writing and drawing are reactions to what is found. The texts I have written are thus also a kind of drawing of thoughts and terms, a collection that focuses on the finding by accident (german: Zufall = falling-on)

LIKE GOING BACKWARDS, WHEN THE VIEW AND THE MIND DO NOT SELECT AND DECIDE, BUT SOMETHING WHICH HAS ENTERED THE FIELD OF VISION DETERMINES THE MOVEMENT: THIS IS HOW THE COHERENCES ARE CREATED. DRAWING IS LIKE WALKING BACKWARDS.

The gesture of drawing involves a continuous reaction to the previous stroke, its evaluation and revision at the level of sensory perception and physical reaction. Their guidance is largely elusive to the drawer's consciousness.

- Bild und Geste, Figurationen des Denkens in Philosophie und Kunst.

Richtmeyer, Goppelsröder, Hildebrandt (Transcript Verlag 2014)

Sometimes - and this applies equally to drawing and writing - you are not awake enough to be caught up. Then the pleasure isn't there, the stream is running dry and the experience of a seamless merging, this oneness of feeling and thinking is like a weak memory from another life.

THIS WORK IS A SEARCH FOR THE SPARK THAT ANIMATES AND DRIVES YOU, THAT SLIPS OUT OF YOUR HANDS AGAIN AND AGAIN. THE ATTEMPT TO CATCH AND SURROUND IT, TO SNATCH IT FROM FORGETTING.