Christina McPhee's drawings were filmed over two years and edited as a video montage of screens with varying opacities and speeds. The drawings are like inscriptions. They remind me of free-form pictograms, dream writing, glyphs of an inner symbolism. They are an occult calligraphy, a concrete poem-in-motion, scrawling into being under the artist's brush. The sound in the film is the artist's brush creating the drawings. She writes:
I make very large scale drawings using white rolls of watercolor and drawing papers. The drawings are usually created in a horizontal orientation working from right to left, like writing without backtracking or extensive editing. When not executed horizontally, the drawings are also created in a vertical orientation and worked from top to bottom like a scroll. The markings are calligraphic and topologic and do not represent content. They consider intensities and nodes. I consider depth of field from point to point moving from the implications of the last move into a new territory. Each drawing gesture generates the next.This is an automatic writing. A poetry. I consider SHED a genre-crossing piece that brings together a poetry of drawing and video editing. It is a multiplicity, a place of vectors. The nodes and intensities are democratic, without hierarchy; they are nomads drawn into being by the brush of India and acrylic ink and red paint encrusted on the paper by the artist.
Christina calls her drawings Teorema, after the Pasolini film of the same name which she speaks about in the video below SHED. Of her studio space, which reminded me of a stark meditation cabin, she writes:
A shed is a barracks, a shelter and it is hermeneutic (pertaining to its own secrets). The shed is a place of elemental becoming and the drawings develop the space of the shed just as the shed develops the space of the drawings. Mutually they create a performative condition for video installation as drawing. The accumulation of layered montage in multiple takes gives rise to a series of videos.... the video creates drawing as architectural event.
direct link: Christina McPhee's, SHED / cinema clip / 2011
At her website, we find further clarification:
During two year’s time, SHED CUBED traces the heliotropic movement of drawings across diurnal passages of light and darkness in an austere interior of concrete floors and white walls. SHED CUBED is ‘shedding’ drawings. The drawings accumulate, re-materialize, and melt away in the space of the shed….You can view the full series of SHED's "drawings as writing process" at her website, where she calls them a teorema of glyphs, nomads, aplophorids, chromogenics, lightjets. They are also reminiscent of marine life (she speaks of shrimp being thrown on the deck of a boat by the sea during a marine ecology project) and insects, of the underpinnings of larger living ecosystems.
SHED CUBED reflects on the materiality of video as a drawing medium and architectural body.
SHED regards the effect of transverse light, as the sunlight moves through the space from early morning onwards… The video footage captures the slow changes of the light and the rapid changes of the drawing. In post production, the video format becomes a long strip, rather than the typical rectangle– a sequencing and serial effect. The footage is compressed up to a limit of 900 percent. The shed is hermeneutic (pertaining to its own secrets) but the transverse light inside the shed explodes the intimacy of such a secret space, brings it into the light. Effectively the light exposes the drawings as a writing process that iterates line after line in accumulations, refrains, recollections and recursions. Following the drawings, the video montage sheds time in layers, in a profusion of moments…the installation recapitulates the shed.
I hope you enjoy my choice for this week's featured videopoem, and as you watch SHED, and the articulation of its processes and some of the inspirations and aims that Christina offers at a presentation below, you are inspired.
direct link: Christina McPhee: Shed
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