My method of expressing interests is heavily dependent on visual analysis and creating physical creations. My action of perceiving information and responses tend to require a visualizing process and tactile experience. I look at things and touch them to observe their shapes, colors, structures, textures, and ultimately to feel and understand the objects. Among many different outlets and mediums of visualization, drawing has always been a big part of my practice. It allows me to preserve the memorable and precious moments in my life, to overcome fearful and tragic experiences, to attract fanciful dreams and fantasy, to express my thoughts and ideas, or to challenge and achieve the concept of pure creativity - the goal for new. According to Tim Parsley, Manifest's former Assistant Director and Drawing Center Director, drawing slows down the process of observation and gives more time to examine the subject. He says, “We draw in order to see. To the non-drawer, this is counterintuitive and seems to place an interfering activity between the eye and the object seen. After all, if the goal is seeing, why not just look? But to draw is to slow our seeing, think about our seeing, and hopefully, over time, understand what we are seeing.”
On the other hand, language often fails me. My thoughts sporadically develop and spontaneously merge together affecting one another without having clear divisions and they tend to disappear without even noticing. Considering language is a socially understood and practiced comprehensive way to organize and deliver intangible thoughts, I understand that it has a remarkable efficiency as a tool for collecting ideas, communicating with each other, and preserving them for later.
This project started from an effort to combine linguistic approach with drawing to empower my thoughts, including desire, clothing, body, and space. I hope this exercise become an anchor for my studio practice.
