DRAWING AS ACTION  Aqua Fluxus investigates a poetic cartography of turbulance, chaos and fluidity through the act of drawing. The drawings develop non-physical, experiential mappings of places that are continuously reshaped by the interplay of extreme force and fluidity - of event, encounter and adaptation toward the unpredictable. The works explore active methods of capturing time and event through the act of drawing as a performance in itself.  How can we map a place that is more clearly defined by it's undergoing continuous change than by it's physical form? By configurations and relationships that change daily, that through traditional cartographical approaches would require constant drawing and redrawing? Can we instead record a place as a set of fluid actions, interactions and memories?     Through the Aqua Fluxus paintings, my artistic methodology works to develop an approach that enacts an abstraction of the forces and events that create a place to generate emotive cartographies. Allowing for chance, accident and interpretation, the drawing methods are seen as a set of ongoing experiments whereby the process is as crucial as the end result.
 PROCESS  The Aqua Fluxus drawings are conceived as performances, whereby the relationship between paper and ink is subject to decreasing levels of control. The paintings are drawn through dropping ink with intention from a height varying from 1 to 3m, at speeds from 1 to 20m/s. Within the compression of space between the ink and the paper, unintention comes into play.  The thin vertical black line descends towards the great rectangular hole the paper cuts out of the grass below. The balanced moment of meeting between horizontal and vertical; between line, plane and horizon. The compression of the four-dimensional space the line takes up as it gains speed toward the paper, it's momentary dance captured upon a two-dimensional plane. Viewed from above, in the eyes of the painter the perspective compresses as the ink spot dances its way down. If the ink is dropped, the vertical dance and the time of it's journey is compressed as a single gestural mark that captures something of the entire movement. It's speed and impact is visible in the thickness and splatter of the stroke. If the ink is suspended, kept hold of at one end from above, only the last steps of the dance are recorded - the wind, gravity and it's own intention has more of an influence over the dance than myself. From my height, for much of the act of drawing I cannot quite tell which lines are still moving and which have become frozen upon the paper. As I paint, I am a puppeteer with increasingly less control over their puppets, a choreographer trying to direct against a booming wind with much louder voice than I.
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