"Paul Klee famously said that drawing was simply taking a line out for a walk. In Lines of Thought, lines go for walks. And runs. And skips, frolics and meanders. It is a pleasure to be able to accompany them."
Existing between two points, the simple reality of line for me lies in its use in infinite variation for making my work statements. It helps me to generate many complex forms that diverse thought and ideas
In my childhood I saw the pre historic times caves of Ajanta and Ellora, in Aurangabad, India. Cavemen artists tried their hand at line drawings and created a range of images and scenes of everyday are preserved to this day on the interior walls of several known caves, thereby reveals a wealth of information about human past life.
Now with advancement in technology a line can also be drawn through computers which is clearly attested to my work when I take the help of computer software like photoshop to manipulate the lines and its arrangement.
Moreover the period of 20th century minimalism and post minimalism in America gives a clear attention to line as an artistic device. which also branches out in European art movement abstraction such as De Stijl and constructivism.
Untitled, Pencil on canvas, 120*150 cm
Here are few of such artists who were involved as certainly the most prominent Minimalist or and conceptual artists:
Sol LeWitt works are based on experimenting grids and wall drawings in which he explored myriad variations of applying drawn lines onto walls. He had no interest in inherent narrative or descriptive imagery. The work is executed by others to clear and strict instructions. His work has maintained importance of the concept or idea. I really get inspired by his simplest way of using line and grids on wall as the most logical structures, yet simultaneously seem most illogical with their confusing network of endless horizontal and vertical lines. “When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art,” he wrote in his seminal 1967 essay Paragraphs on Conceptual Art.
Fred Sandback’s work is an art of objects without shadows. The artist work consists of using elastic cord and acrylic yarn which I find is an interesting form of making a line look 2 dimensional using three dimensional material to delineate or bifurcate three-dimensional space, creating room-filling volumetric forms using the most minimal of means. By stretching single strands of yarn point-to-point to create geometric figures particularly expressed in three dimensional line works. It challenges the viewer’s perception of space and alter the way in which they interact with their surroundings. “No doubt every person visiting an exhibition can react to it in a different way,” he said of his work.
His works are almost minimalistic and monochromatic in nature, made using saturated oil paint that translates from opacity to luminescence, I guess Iitmay testify a little similar to the other artist; Richard Diebenkorn oil color palette. The brush stokes made up of fine lines looks very subtle and gently applied on the surface both revealing structure as well speaking a poetic language contrary to hard edged visual language of others.
I have been considering her work that are outside the widely prevailing tradition of figurative and narrative art practiced in India. Her works seems to directly get referenced from the details of her immediate environment and from abstract qualities pf Islamic architecture. These line drawing made with pen pencil and graphite, appearing to be hovering between taut and free floating as if suspended above the surface plane of paper.
I have a great interest in cartography and Geographical “lines” appear in this artist works, too therefore engages a sense of curiosity to see the artist delicate newspaper cut-outs of city maps and environments that are usually glues directly onto gallery walls.
Özlem Günyol and
For me, Ceaseless Doodle, by Özlem Günyol and Mustafa Kunt, has both an immediate impact, this huge wall drawing in marker pen initially appearing ambivalent from a distance – is it a drawing, or a metal sculpture? – and a more conceptual layer.
Wall Drawing 154
Untitled (Sculptural Study, Two-part Construction), 1974-2013
Black acrylic yarn
“Other Colors” (1965), oil on canvas, 76 3/4 x 76 3/4 inches
Present 04 2018, steel, 20 x 20 x 10 cm
Ceaseless Doodle, by Özlem Günyol and