Deleuzian dolls : subverting identities through intergenerational collaborative drawing

This paper explores concepts of desire and rhizomatic working through a series of intergenerational collaborative drawing episodes. Particularly, mother/daughter relationships are examined via drawings created by the author and her young daughter. Drawings hold on their surface unpredictable connections to things experienced, known, conceptualized and imagined. In the context of this paper desire is seen to drive adults and children into expressing and making a mark, to make an imprint. Here, the prompts that inform a drawing are regarded as a rhizomatic network of chaotic actions and thoughts that connect each drawer to the tools, the paper and each other in unpredictable and mutable ways. The paper concludes by discussing how these intergenerational collaborative drawing episodes offer opportunities to re-imagine relationships, communications and learning in early childhood education.

Contracted site: Artist on paper, drawing

Traditionally the notion of drawing in-situ has suggested the physical presence of the artist in the environment under scrutiny. The assumption here of enhanced connectivity, however, is hasty in light of the idea that situation implies a relative spatial value determined by the interplay of subject and location, where the possibility of not being “in-situ” is problematic. The fact that traditional drawing in-situ, such as the rendering of landscape, requires a framing of the world “out there” suggests a distance between the perceived object of representation and the drawing surface. Rather than suggesting that some drawing is situated and other sorts of drawing are not, however, I argue that situation or site is variously extended and intensified depending on the nature of mediation between surface and environment. The suggestion here is that site is not so much a precondition as a performative function, developed in the act of drawing and always implicating the drawing surface. In my discussion I focus on specific works by Toba Khedoori and Cameron Robbins. As well, in using my own recent drawing practice as a case study, I argue that the geography of site is delimited neither by horizon nor the boundaries of the paper. Rather, I propose that site and drawing surface coincide in variously intensive and extensive ways.