The spread of the ground preparation expands extensively. The square ply boards on the walls that are randomly placed bring in a very graphic feel to the space even if it is supposed to be temporary.
The straight black lines jar the flow of the initial drawing. I find myself opening up to broader lines in breaking the stamp of the square geometric form. It is a very immediate reaction to a current influence and highlights the fluctuation of thought in reaction to immediate interventions.
Odun with Chinyere Ndubuisi
Chinyere Ndubuisi is here. We discussed at length she made a comment about how the project could be likened to throwing one into a river and asking the person to swim. I wondered how another individual could escape from my thoughts in mark making without understanding where I am coming from. The issue of orientation continues too come up. We discussed the theory of natural synthesis and how the innate and natural take preeminence in what is generated by any one individual. In relating this to space it would be a natural inclination in what ever emanates from the space. We discussed Yusuf Grillo and his thoughts on how our orientation from culture and our environment have a place in the discussion of natural synthesis and innate inclinations.
How will I find a place for this in intuitive mark making to create forms?
So how does this trajectory contribute to knowledge? How does it contribute to culture. How does one test this and reflect on how we try to engage our changing world. One would make a point to look into drawing history sources in the local environment like
Scarification, body marking and tatoos
Textile motifs
Glyphs and writing systems
Cave/wall marking
Divination markings
Ceramic embellishment
Dance movement marking
Architecture design and embellishment
Maps and site marking
Would this be nomadic drawing?
One might also expand the research into the psychology of drawing outside from what is conventionally attributed as drawing.
Salvador Dali once said “Drawing is the honesty of art, there is no cheating. It is either good or bad” – The City of Drawers 1936.
Written by Odun Orimolade
Click on images for better view. All images courtesy Jude Anogwih.
Join, observe and interact with Odun Orimolade at the CCA, Lagos gallery, open to the public from 10am- 6pm Monday to Friday.
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