Recording — 18 meters
The performance took place inside an old silo at the Art Omi Arts Center in Ghent, NY. The walls of the silo are made of iron that had rusted under the influence of the elements and the passing of time.
I used iron oxide pigment — a form of black rust — and applied it with my hand, pressing it onto an 18-meter-long sheet of paper that wrapped entirely around the interior radius of the space.
Over the course of about fifteen minutes, I inscribed onto the paper the traces of the moment, the energy, and the texture of the silo walls — an effort to preserve information that goes beyond conventional recording, and to play with the very principle on which all media as carriers are based.
I used iron oxide pigment — a form of black rust — and applied it with my hand, pressing it onto an 18-meter-long sheet of paper that wrapped entirely around the interior radius of the space.
Over the course of about fifteen minutes, I inscribed onto the paper the traces of the moment, the energy, and the texture of the silo walls — an effort to preserve information that goes beyond conventional recording, and to play with the very principle on which all media as carriers are based.
Artist statement
The drawing itself visually implies a certain movement; it is repetitive yet always different. Despite their similarities, the traces can never be replicated. At times, visible imprints of my hands appear, only to be smudged and dissipated, expanding across the flat surface like the passing of time—imprints of motion itself.
The whole action reflects what I usually do when I draw: leaving a mark through gesture, an act of applying substance, and process.
I chose to present this work as a performance in order to highlight its procedural nature and emphasize the idea of recording—to open it, to share it with the audience, to invite them into something that is otherwise a solitary act. In the end, I thanked them for their participation, placing them in an active role alongside me.
The drawing itself visually implies a certain movement; it is repetitive yet always different. Despite their similarities, the traces can never be replicated. At times, visible imprints of my hands appear, only to be smudged and dissipated, expanding across the flat surface like the passing of time—imprints of motion itself.
The whole action reflects what I usually do when I draw: leaving a mark through gesture, an act of applying substance, and process.
I chose to present this work as a performance in order to highlight its procedural nature and emphasize the idea of recording—to open it, to share it with the audience, to invite them into something that is otherwise a solitary act. In the end, I thanked them for their participation, placing them in an active role alongside me.
Photo by Viktor Popović
& Karen Pearson
Realised with the support of the
Ministry of Culture and Media of the Republic of Croatia
& Gallery of Fine Arts in Split