The work when Drawing Becomes Still is a development from the charcoal-silkscreen on water stop-motion animation.
When the drawing is silkscreened onto water, it is continuously shifting and changing on the surface of the water. The drawing is in a state of action, renewing, unravelling, almost with a life of its own with the help of the water. It epitomises the idea of drawing as a verb, continuously in action and changing.
When I create stop-motion animation, I will have to capture the motion of the drawings on water using a camera, and taking them in a sequence of frames. As I capture the drawings in frames, the drawings are actually fixated as stills through photography. The drawings momentarily dead, but they are revived when I place all the frames together in an animation.
In the creation of my animation, there is a lot of time when I have to try to keep the drawing/object in a fixed position before I can capture them in frames. For objects, I try to keep them still by using masking tape and nylon strings. And for the charcoal-silkscreen on water animation, I simply have to act very quickly. There is always an idea of keeping things (drawings/objects) still, most of the time by photography.
When the drawing (verb) stops, it becomes an object (also called drawing – a noun).
When Drawing Becomes Still
For this work, I am almost like making a recreation of my animation-still in a physical and sculptural form, instead of photography.
By using varnish which is clear and hardens when dry, I am able to create a physical still. It is essentially just another way of keeping a drawing still on liquid (using varnish), instead of capturing it with a camera.
I think because the drawing is on liquid/water, there is a greater fascination about how to keep it still, hence my development.