Gesa Helms
Themes of significance (1)
— I have my first tutorial with both of them. the line starts out well, the we find we are six (an errant echo for each of us).
Three ideas (are maybe only one):
Body in movement (my body as drawing tool) >> starting theme for D2
Interdisciplinarity in Drawing practice >> the wider theme for the Critical Review (if the Jonas’ essay would have been 3500 words longer than what it was)
Production of space, the idea of reaching, touching a utopian spacetime aside the corridor (or, the latter intruding)
At night, I think about a project about touch, about contact
I think about the touch drawings, the pencils on long sticks that produce a nervous line while registering every stutter and stammer along the transmission from hand to paper surface.
It can include movement, the walking back and forth
It can include distance via digital circulation
It can include one to one performances
It is about private, about public,
Tenderness and violence
Love and withholding.
— and I am certain it can also accommodate some institutional critique and a wide-open grassy field should I desire either.
In the conversation yesterday it also becomes clear that not all that I will do will fold into the course material: some of the writing through earlier material and seeking publications will sit elsewhere. When I talk about the Creative Lab residency plan, D. presents me a four-year schedule. I want to protest but decide that – with all the errant feedback in the line between us three – I don’t have to say anything and take the student role. Part of the Creative Lab residency, in particular if I would have had time for the utopia, would have not been a student place. I think that will need some attention (there is also something of comparing the Dissertation handbook to the Research course book).
Research | Body of Work | Sustain Your Practice 
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