What does it mean to "draw without drawing"?
Drawing without drawing
...This is something my teacher said to me last week, and while I sort of understand it, it's hard to put into words... But I'll do my best to write it down.
As I tweeted before like this ↓...
① Drawings that you build up by sitting down and
really focusing on them, drawing and erasing, erasing and drawing... (=
multiple techniques are relatively overlapping)
② few strokes that just happen to come out
lightly and airily as they well up? (= relatively
more negative space)
...I am currently working on both of these simultaneously. (The top image is an example of ②.)
Below, let's call ① "the intensive style", ② "the light and airy style"... (In terms of music, is it like ① "composition" vs ② "improvisation"...?)
First, I want to highlight that
even "light and airy style" works are high quality because they are grounded in the experience of creating "intensive style" works,
where carefully selected techniques are applied to the "perfect" spots.
...is what I mean.
In other words,
the "compositional skills" and "sense of color" cultivated during "intensive style" production are
unconsciously being applied
...so,
it is by no means a case of "I don't have to think too much because it's just a few strokes."
...is that.
And, when working on these two opposites at the same time, if you don't clearly distinguish your mindset by saying "I intend to finish this drawing in the intensive style, and that one in the light and airy style," then
you might end up, without switching your mood from the time-consuming "intensive style," forcing yourself to add the next stroke to the "light and airy style" in a rush right before the lesson, only to regret it later, thinking, "I should have left that as negative space!".
(Well, it's understandable... When creating "intensive style" works, even if I added stroke after stroke, my teacher would often say, "It's still only 60-70% done."...)
(Also, maybe it's a remnant of the psychological habits I had before lessons during my Spartan music college days. The trauma-level ulterior motive of "I must show the teacher that I've improved even a little bit on the virtuoso parts compared to last time."...😮💨)
Currently, my art lessons are every other week. During the two-week span, I inevitably tend to spend most of my time on the "intensive style".
However, I also keep the "light and airy" style within my field of vision, and while I work on the "intensive" style, I watch the "light and airy" one out of the corner of my eye, exploring what to do next...
...and then, if I feel like adding something to the "light and airy" style at any point along the way, I try it. But ultimately,
with sharpened focus, I apply a carefully selected "delicate touch."
...but if the lesson is approaching and I still "haven't felt the urge to touch it"... then,
...that
"not wanting to add anything at all" is "the answer for that moment"
... it is.
This "series of 'mental' flows" regarding this "light and airy production" "series of 'mental' flows"
in other words,
if you add a touch, the introspective work leading up to it
if you don't add one, the integrity of following your heart that doesn't want to add it
...including that, I wonder if that is what"drawing" is.
Just moving your hands vigorously is not the only way to "draw."
"Until the 'moment of truth' arrives, (while watching from the corner of your eye)
asking yourself questions with an inner voice"
is also "drawing (without drawing)."
"If that 'moment of truth' doesn't come, you dare not to draw"
is also "drawing (without drawing)."
Yeah, I think that's probably what it is. Yes.
...It's been a long explanation, but did I get it across???
In music colleges, especially in classical piano, there's a tendency to compete over "how many notes you can play quickly," often ignoring the inner self... But drawing is trulydirectly connected to the "spirit" and "heart" (= it exists alongside introspection)...
But in reality, I still believe that for piano, the spirit of"playing without playing (= just moving your fingers frantically is not 'playing')" is important... In fact, the performance career I started a few years after graduation was a journey that seemed to prove that.
Both the brush and the fingers actually reside in a "blank 'heart'"...
I feel at every turn that this "draw without drawing" spirit is ultimately useful even when working on "intensive" projects... I am currently experiencing the process of improving my skills through this "synergistic effect of both wheels."
いいなと思ったら応援しよう！
ありがとうございました。チップで応援していただけた場合…う〜ん、そ〜ですね、、、個展のDM郵送代にさせていただこうかな…と思います。手元に葉書が届くのってやはり嬉しいですよね。（ちなみに「必ず手書きで一言添える」タイプです。）