Abstract
While it’s difficult and perhaps impossible to define such a fluid concept as contemporary drawing, for many artists it is related to the qualities of immediacy and tactility. Snodgrass’s practice situates drawing as an immediate translation of a gesture of the body into a mark on or of a particular material. She balances immediate, physical mark-making with an indirect process that allows for surprise. Explorations in collage, photography, and video projection all comprise aspects of her practice. All of these projects have a strong sense of physicality. Drawn from the back, lines accumulate on masking tape to form the fabric-like surface of her collages. Projected light moving across the corner of a room becomes a drawn mark that bounces reflections around the space. Snodgrass is interested in the relationship between the visual and the tactile: light as warmth, texture as something that is both felt and seen. Diverse artists working in process art, automatic drawing, and contemporary artists who ground their practices in drawing have also explored this relationship. Through the lens of historical precedent and contemporary influences, Snodgrass situates her practice within the conversation of the changing face of contemporary drawing.
Original language | American English |
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State | Published - 22 Oct 2015 |
Externally published | Yes |
Event | 2015 Annual Southeastern College Art Conference - Pittsburgh, PA Duration: 22 Oct 2015 → … |
Conference
Conference | 2015 Annual Southeastern College Art Conference |
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Period | 22/10/15 → … |
EGS Disciplines
- Art and Design
- Art Practice