perceptual field no. 1 (in progress— each line, 3 seconds long)
it feels good to be drawing again
I had the most incredible morning…
I spent my morning with 30 pre-kindergarteners
after a brief slide show + artist talk, the most enthusiastic and energetic audience I’ve ever had, slowed down (a little bit) and took some time to make their own chalk drawings— finding their own marks to mark the passage of time
now it’s time to come back to reality and the studio
this one took an odd turn-
drawing on stainless steel
Of all the things on this week’s agenda,
I’m most excited about giving an artist talk to 30 preschool students-
(unfixed) chalk on tar paper no. 1
(36” x 122”, on studio wall)
new lines…(2 new drawings)
(100% of the money from the sale of my work goes to the scholarship fund)
projections: accumulated line drawings—Boston
night, the wait and the weight
2014, unfixed chalk on blackboard — 72” x 80”
a new round of mail art pieces will begin soon…
stay tuned for details, about how you can be involved
The envelopes are vessels— occupying space, encapsulating and transporting. They are a palpable locus of memory, an artifact of attention and intention. Intimate hours are spent marking their surface with accumulated marks, moments bound in their fibers, the topography of time is held as a stain—
passed through cold machines,
passed from hand to hand across thousands of miles,
marked by their journey— entrusted to a stranger.
KEVIN TOWNSEND, select works from ‘carried by strangers-2013’
about a year ago I began making these accumulated line drawings—
what began as a ritualized, private, rule-based drawings, rooted in ideas surrounding our conception of and relationship to our memory, has expanded to incorporate related issues of temporality and permanence, strength and fragility, fullness and emptiness, presence and absence and the intersection of private and public.
Using only repeated lines (that never intersect or overlap), these works evolved as a way to engage both my propensity towards repetitive, obsessive mark making and my desire to give up a degree of control while focusing on the ritualized ACT of drawing. The repetition and accumulation of line is employed as a means connecting to both the passage of time and the processes of memory formation. The fabric-like structures that emerge mirror the way a series of minutes or seconds coalesce in our minds into one unified ‘moment’ or memory.
As this series progresses the work is moving away from the small sheets of paper where it began, occupying envelopes sent around the world to people I’ve never met, created over several awkward hours on the walls of public bathrooms, insinuated in place of signs and billboards, rendered on the walls of temporary structures inserted in public spaces and most recently projected on buildings.
I am excited by the new directions the work is taking and I am grateful for all of your interest and attention over the last year—