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Sight Drawings

June 15, 2017

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Web. (6/14/2017 ,7:48 p.m.)

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Dylan DeWitt: Perceptions of the Everyday

Images Both Sides Cast paper 11” x 18 ” 2018 Cast paper images of each side of a single sheet of copy paper Blank Page Colored pencil on cut paper 11” x 8.5” 2018 Creases Scored drawing on bond paper 11” x 8.5” 2018 By Hand Silverpoint on paper. 14” x 18 ” 2017 Drawing of a sheet of copy paper soiled with fingerprints, drawn at slightly larger scale than an actual human hand. Spilt Water and hydrophobic spray on concrete floor, paper cups 22” x 72 ” 2017 Cast Paper Paper pulp cast into a wrinkled form 8.5” x 11” 2017 Small, Medium, Large Glass Hand-cut glass 31” x 14 ” 2017 Glass fragments with identical shatter patterns at three sizes. Cardboard Carved MDF, paraffin wax 12” x 18 ” 2016 Stutter Inkjet print on wrinkled paper, site-specific light and

Sylvain Levier and Nebel Lang: Korf ar son (Body of Sound)

Sylvain Levier and Nebel Lang: Korf ar son (Body of Sound) Sylvain Levier writes about his experience of creating a series of drawings, Body of Sound, in response to music. For two years, he worked remotely with the composer Nebel Lang. Lang recorded improvisations while tuning pianos throughout Europe. This work is an attempt to give form to the melodies and harmonies experienced. Time plays a role in these works as well as the formal elements of structure, space, and tone. They all interplay to map what was heard, felt, and reflected upon. "Korf ar son" (body of sound in Breton language) is a collaborative sound-based project led by piano composer Nebel Lang and visual artist Sylvain Levier . This ongoing project started in 2019 proposes to link piano improvisations to their graphic transcriptions. In the manner of stolen moments, each improvisation was recorded on different pianos, in different places in Europe, during the tuning process. As improvisations, thes

Monika Supe: The Progress of Time

Flip Book. 2011. Flip Book. 2011. I am interested in space and in our relationship to space and time. I want to know how we perceive these and how we react in these. That’s why questions concern me like: what is the difference between “space” and “body”; what means “inside” and what “outside”; when do we feel comfortable somewhere inside, when do we feel barred from something. And also: what is the difference between “past”, “present” and “future” and how are they connected. Against this background I make drawings in two and three dimensions. Often I create objects built from wire, because wire is like a line, so I can draw into space in three dimensions. I can check out the border between two-dimensional expanse, body and space. Sometimes I reduce wire to coverings by crocheting. People can stretch them and slip inside. I document their movement by taking a series of pictures and so I can hold on to that moment. Koerper - innen Außen 7. 2012. O

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