The multiplicities of drawing. An investigation through practice

Abstract

This thesis approaches the edges of the skin of drawing as the sum of the marks that signify it, revealing its active and constantly transforming nature, and displacing the assumption of the surface as the meeting place and occurrence of drawing.
In order to undertake this research, the thesis is developed along three fundamental axes: certain debates that have been sustained in post-structuralist thought; artistic and architectural references relevant to this study; and my personal practice as an artist and architect, carried out in a wide variety of contexts, supports, tools and technologies.
To this end, on the one hand, the encounter between calligraphy and drawing is explored, from which arise the concepts of rhythm and the importance of the path of the trace. On the other hand, the limit between writing and drawing is questioned, revealing the eminently relational and insubstantial character of drawing, the need to consider the intersection between parts rather than the search for a totality, and the interruption of the trace's journey by name and significance. Time is also revealed as a constituent of drawing, leading to the experience of drawing through the assimilation of its non-presence and the synchronic drift to which the overlapping of its rhythms leads us. In this way, drawing is understood as the superimposition of differences that can only coexist in an unthinkable space, which is not that of order or surface, but that of heterotopia.
Having introduced these specificities of the traces, which determine the eminently relational and insubstantial character of drawing, this thesis moves on to unfold the multiplicity of drawing. It explains how the skin of drawing, understood so far in terms of the two-dimensionality of the traces on the surface, expands its thickness in a spatio-temporal multiplicity that responds to the diversity of traces produced by the whole body and to the interaction with other contextual agents beyond those of the unconscious human body. Finally, the thesis focuses on a visual approach to the multiplicities of drawing, based on an understanding of the mobile grammar of its traces, considered as a sum of particles in perpetual movement, collision, and constant regeneration in their interaction with the world.

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Identifiers

ORCID for Rebeca Font: orcid.org/0009-0005-4121-8457

ORCID for Sunil Manghani: orcid.org/0000-0001-6406-7456

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