The Essential Diagrams
a series of 12 interconnected drawings, scribbles, notes, and diagrams to be displayed like an ever-growing, parasitic spider web in all corners of an exhibition institution.
The Essential Diagrams
Untitled (Basketball Drawings)
‘drawings’ on dry lake bed / salt flats in Nevada
the artist’s words:
The dry lake surface is like a giant etch a sketch. Any vehicle moving across it’s surface makes a temporary mark.
Weather destroys all these marks, mostly because of rain and the occasional filling of the basin, but also from sun, freezing, wind, snow, etc.
The area is managed the Bureau of Land Management and has a long history of vehicle use.
I do not ask permission from the Bureau of Land Management to make a drawing. Driving is a permitted activity. An agent of the Bureau of Land Management visited us during work on the 2008 drawing and reminded us to have plenty of water and other supplies. We explained our work and showed him what we were doing. He was kind enough to be careful while leaving our campsite and avoided driving over the composition
By now you’ve seen all the amazing shots of this installation—
but have you seen the preparatory drawings?
big air package drawings (Project for Gasometer, Oberhausen, Germany)
- Air Package
Collage 201130 1/2 x 26 1/4” (77.5 x 66.7 cm)Pencil, charcoal, pastel, wax crayon, fabric, polyethylene, twine and cut-out cardboard
- The Big Air Package Drawing 2012 in two parts96 x 42” and 96 x 28” (244 x 106.6 cm and 244 x 71 cm)Pencil, charcoal, pastel, wax crayon, wash and architectural plans
- The Big Air PackageDrawing 2012 in two parts96 x 28” and 96 x 42” (244 x 71 cm and 244 x 106.6 cmPencil, charcoal, pastel, wax crayon, wash and architectural plans
- The Big Air Package Collage 2013 in two parts30 1/2 x 26 1/4” and 30 1/2 x 12” (77.5 x 66.7 and 77.5 x 30.5 cm)Pencil, charcoal, pastel, wax crayon, fabric and architectural plans
- The Big Air Package Collage 2013 in two parts30 1/2 x 12” and 30 1/2 x 26 1/4” (77.5 x 30.5 cm and 77.5 x 66.7 cm)Pencil, charcoal, pastel, wax crayon, fabric, twine and architectural plans
all images found on CHRISTO’S website
“The drawing just happens. Everything just happens; and suddenly you reach a point where it’s perfect, and every move you make with your hand, and every thought you’re having, and it’s growing in front of you, and there are no mistakes. And this is a wonderful… as, you know for an artist, this is a wonderful…a wonderful place to be. If I get an hour like that I’m quite happy… But then you see, I’m not so selfish. I used to read that Picasso - not that I’m comparing myself to Picasso - but he used to have a rule that when he went to his studio and he shut his door, nobody was allowed to interrupt him, didn’t matter what was happening, nobody should interrupt him, and unfortunately I let myself be interrupted far too much.
It’s ridiculous the amount of barriers you subconsciously build up for yourself before you can get started on the thing that you’re really passionate about you know… ‘but I can’t start until the washing-up’s done and I should uh…change the cat litter or’… and then by the time you’re ready to start, you’re sort of… the moment’s gone!
I haven’t reached the point where I think I’m good at this; that’s the drive. I know that it’s in me, to be really good at it, and I think I’ve come close a few times, but um, I don’t usually… look at things I’ve completed and feel content - which then means the next time you… the next thing you start, you go into it with that attitude um, that ‘THIS time, I’m gonna get it right’… and that’s, that’s the drive, really, each time. But it’s, but it’s, that doesn’t mean that it’s, you know it’s a, a thankless task, that you hate everything you do, but it’s um, I’m never, I’m never content, and maybe I never will be but um, I secretly know that that is what makes you grow.”
- Jamie Hewlett; Artist and Filmmaker. (x)
fluid and dissuading
elusive, ignorant truth
erratic, whitewashed monuments
in the silk evening
details from A Line Describing the Sun — a short film that documents how Lamson went to the Mojave Desert with a giant Fresnel lens, which concentrated the punishing sun into a single 1,800-degree spot. Lamson followed the sun’s path across the course of a day, so that the sand beneath his feet became an arc of fused glass.
super quick, unscheduled drawing break in the midst of prepping dinner, readying beets for roasting- because I like the subtle asymmetry of the form and want to remember to bring some organic quirkiness to the forms I’m working with
(It’s totally normal to make your family wait longer for dinner because you needed to draw the beets real quick… Right?)