The process of constructing this drawing comprises three phases: making, unmaking, and remaking. In the making phase, simple geometry, a perspective view of a rectangular building with a vanishing point on the ground level, is created for an individual mark. The 24 identical marks distributed rhythmically compose a set of marks, then 36 sets of 24 marks, a total of 864 marks are repetitively and rhythmically made on a 36″x24″ sheet of mylar, the primary layer of the drawing. This drawing surface of marks with the deployment of repetitions of rhythm is ready to be cultivated and transformed by unmaking. Two different means are used: whiteout and cutout. For whiteout, white lines are drawn over the black lines of the initial marks, leaving a trace of white ink for the unmade parts. For cutout, marks are cut out surgically with an exacto knife. One-third of marks are unmade, half with whiteout and the other half cutout. By seeing through the established characteristics of the drawing in the making and unmaking process, the phase of remaking develops: Perspectival shapes of rectangles are drawn with colored pens below each cutout mark as a way of remembering. The collected cutouts are disposed onto a sheet of paper and then underlaid back on the drawing surface. A stencil made of a sheet of mylar is used to highlight the cutout areas, and after yellow spray paint, the stencil itself, partly tainted, cut, and displaced, is incorporated into the layers of the drawing. Through interrelation created by the composition of marks in constant evolution, the drawing becomes multiple layers of construction and results in unforeseen geometric and communicative potentials. The drawing process yields a range of possibilities that strengthen the ability to make design decisions and expand drawing techniques and relational understandings.

 

Mylar, graphite, colored pencil, pen, white pen, transfer letters, digital print, tape, spray paint, 36″x24″, 2018