Calum, Maya and Bernhard Gaul: Response II - Corcreaghy - 2014
Pastels on paper on plywood, yacht varnish. 100 x 100 x 2 cm
To Do: Experiments in Engagement
I never liked the idea of just showing what I worked on for mere passive consumption. - I'm genuinely interested in what other people do or see and how this compares with what I do or see (and that's also why I like to visit exhibitions with others). - And I'm tired, too, of working in isolation. True, painting - like wrtiting - affords extremely slow paced reflection and expression from a prolonged position of withdrawal, which does have value in its own right, but it seems increasingly unnatural to me, to not also look for painting or drawing as a joint activity, like people make music together, or play football. Who's to say that you can't paint or draw with utmost sincerity that way, too?
Assumption: if the focus is on the process of acquiring something, of finding a personal position/a response in a given context, on finding/defining and communicating a space or an approach and to examine how different individulas or groups may go about this, then technical skills or experience in drawing or painting are only of secondary importance, if at all.
Experiments in Engagement: Attempts of providing set-ups, which induce a certain quailty of attention and oportunity to sensually responsive production intrinsic to painting; exposing response panels like photographic plates to an audience, to see what they can capture. Overcoming the canvas/the drawing pane as proprietary terrain of a single painter, working in isolation.