The Drawing Labyrinth
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Author(s)
Platz, William
Griffith University Author(s)
Year published
2018
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Background This drawing event continues an ongoing research pursuit of the contemporary phenomenon of ‘performance drawing’ and combines it with ongoing research into the use of puppets in drawing practice. Puppet and performance drawing research are specialisations that extend the field of drawing research and connect with cutting-edge international scholarship and practice. My performance drawing and puppet drawing research has been exhibited in Australia, the US and Japan; and published in Europe and the US. Contribution ‘The Drawing Labyrinth’ is a participatory performance drawing intervention in an exhibition of Pablo ...
View more >Background This drawing event continues an ongoing research pursuit of the contemporary phenomenon of ‘performance drawing’ and combines it with ongoing research into the use of puppets in drawing practice. Puppet and performance drawing research are specialisations that extend the field of drawing research and connect with cutting-edge international scholarship and practice. My performance drawing and puppet drawing research has been exhibited in Australia, the US and Japan; and published in Europe and the US. Contribution ‘The Drawing Labyrinth’ is a participatory performance drawing intervention in an exhibition of Pablo Picasso’s ‘Vollard Suite’ of 100 etchings. This two-hour performance drawing event blended conventions of life drawing with the use of three original puppets built for the performance: the sculptor, the minotaur and the horse. Thirty participants and two performers responded to the Picasso works in a series of massed drawings and puppet exchanges. The work was documented by the museum. The work is innovative in three facets: the application of puppet methods in the life studio; the intervention of performance drawing in the context of the Vollard Suite; and the collaborative and participatory approaches to drawing synthesising artist, puppeteers, model, puppet and draughtsperson. Significance This performance drawing was created, funded and accomplished at the invitation of the Public Programs department of QAGOMA under the direction of Alice-Anne Psaltis (now at Goldsmiths, London). The ‘Vollard Suite’ is in the collection of the National gallery of Australia and was on loan to QAGOMA. It is one of the few complete sets of these prints in the world and was being exhibited in Australia for the first time since 1998. It is significant that the gallery invited me to intervene with performance drawing and puppets in the exhibition space and to directly confront the series’ content through this drawing event.
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View more >Background This drawing event continues an ongoing research pursuit of the contemporary phenomenon of ‘performance drawing’ and combines it with ongoing research into the use of puppets in drawing practice. Puppet and performance drawing research are specialisations that extend the field of drawing research and connect with cutting-edge international scholarship and practice. My performance drawing and puppet drawing research has been exhibited in Australia, the US and Japan; and published in Europe and the US. Contribution ‘The Drawing Labyrinth’ is a participatory performance drawing intervention in an exhibition of Pablo Picasso’s ‘Vollard Suite’ of 100 etchings. This two-hour performance drawing event blended conventions of life drawing with the use of three original puppets built for the performance: the sculptor, the minotaur and the horse. Thirty participants and two performers responded to the Picasso works in a series of massed drawings and puppet exchanges. The work was documented by the museum. The work is innovative in three facets: the application of puppet methods in the life studio; the intervention of performance drawing in the context of the Vollard Suite; and the collaborative and participatory approaches to drawing synthesising artist, puppeteers, model, puppet and draughtsperson. Significance This performance drawing was created, funded and accomplished at the invitation of the Public Programs department of QAGOMA under the direction of Alice-Anne Psaltis (now at Goldsmiths, London). The ‘Vollard Suite’ is in the collection of the National gallery of Australia and was on loan to QAGOMA. It is one of the few complete sets of these prints in the world and was being exhibited in Australia for the first time since 1998. It is significant that the gallery invited me to intervene with performance drawing and puppets in the exhibition space and to directly confront the series’ content through this drawing event.
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Copyright Statement
© 2018 The Authors & Queensland Art Gallery. The attached file is reproduced here in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version.
Subject
Performance art