Lula Goce

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Trayectories II

MIRĂ’ Galery. Barcelona University Space. Barcelona. Spain.
October, 2007

The drawing of an arterial system is repeated manually, in lines covering the width and breadth of the surrounding space. The drawing, which individually represents an artery, loses its individual meaning and becomes part of a whole, and of the surrounding space. The drawing involves the spectator: it is not an artery but an accumulation of arteries, which confers a global meaning to it. According to Danto, the size of a work of art aims at inducing a certain self-consciousness in the spectator, hence its status of the sublime. It involves the spectators’ bodies, without causing them to be miniaturized.

The serialization of the element, which loses its identity through accumulation, goes on to become part of a whole. The space is constructed through the drawing and through accumulation, integrating the artwork, not as simple scaffolding, but as an active component, generating significance.

I would like to stress the importance of the formal characteristics present in all my work, and specifically in “Trayectories”, which is the drawing and its background. The supporting background is vital, as the drawing is enhanced by the close relationship with the space it is drawn on, in this case a wall, integrated in a room. According to the art historian Norman Bryson, the background acts as a reserve, the blank space from which the drawing emerges, perceptively both present and absent.
It is therefore the tool that allows the structure, the composition and the trace to be united in a whole, as the background acquires identity united to the trace, beyond its function as a support. In his essay “Painting, or Signs and Marks” (1917), Walter Benjamin expresses his belief in the close relationship that appears when a line is defined in contrast to its background: it is a union that is both visual and metaphysical. The line is defined as it is united with its background: it can exist only in this context, so that if a drawing covers the whole of the background, it ceases to be a drawing. According to Benjamin:
“The identity of the background of a drawing is quite different from that of the white surface on which it is incribed. We might even deny it that identity by thinking of it as a surge of white waves. /…/ Surfaces cannot be reduced to the status of blank white space.”

Parting from a vectorial digital drawing, representing an arterial system, the proyect is carried out by direct intervention on the wall, covering one of the walls totally. The drawing is done using a matrix measuring 25 x 15 cms, reproducing the pattern until the whole of the wall is covered, its limits being the limits of the wall.

Marker on a wall
9 x 3,80 ms