I really hate this drawing. It's unbalanced, weird, ill-assembled and fussed with to death. But I kind of like the photograph of it, mostly because of the push pins.
I try hard to make drawings that are perfectly spontaneous. No unified composition, just a series of apparently random moments, but calibrated to what I would consider "perfect." I failed in this drawing, but the pin holes in the homosote, the push pins themselves and the shadows they produce, the incidental shadows produced by wee distance between the drawing and the wall. The only success I can really find here is incidental. So, really, it proves Tuttle's point with the wire pinned to the wall, the pencil line tracing its shadow, and the shadow itself. Sometimes the temporal artifacts of displaying the work is the work itself. Tuttle did it perfectly. I bumbled through it.
I'd forgotten about those wires--yes, that's where he "started" us. Maybe more about a sense of where to stop rather than a sense of where to start. In other words, untrammelledness is a permanent condition (the world being the world) and our job is not to interrupt.
ReplyDeleteSometimes thoughts interrupt. So, let things happen. Close your eyes for a while, then re-open them. (Metaphorically?)
Ask me about (the brilliant) collage work of Raymond Saunders--and what I know of Ray's struggles with the question above... His subversions, or diversions, as it were...