“The initial aim of the research is not the question the quality and the interpretation of the drawing, but the impulses that generate it. Having the above in mind, the value of the drawing as an artefact is left aside, while the focus is shifted on the processes that generate it. The product as a result of mutual actions moved by diverse forces is ambiguous. Different types of drawings have been identified by distinguishing different influences in the field of given context – accidental drawings are generated by movements caused by different types of forces, through their transcription and synthesis.
Drawing machine generates the inscription of a collective drawing, where the context of the wall-canvas is being observed as a particular form of topography. The wall is represented as a peculiar terrain which carries the inscription of its previous users, visitors and events which took place during time. Observing the landscape as a layout for mapping different scenarios, the canvas becomes a narrative. As a space which underlies the games of coincidence and intention, the setting offers a variety of specific layouts suitable for a form of spontaneous performance, luring the visitor into interaction and making him a part of the setting in a mutual act of leaving a series of traces.”
– From the artists’ statement –
“Inicijalna namera ovog istraživanja nije ispitivanje kvaliteta i značenja samog crteža, koliko impulsa koji ga pokreću i njihovog sadejstva. Sa tim u vezi, vrednost crteža kao artefakta ostavlja se po strani, dok se fokus premešta na proces njegovog nastanka, gde je sam proizvod kao rezultat uzajamnog delovanja raznorodnih sila u svojoj biti neizvestan. Razgraničavanjem pojmova koji se odnose na delovanje razičitih sila u polju zadatog fizičkog konteksta, izdvajaju se slučajni crteži koji nastaju njihovom transkripcijom i sintezom.
Crtaća mašina generiše zapis kolektivnog crteža, gde se kontekst zida-platna posmatra kao određeni vid topografije. Zid je predstavljen kao svojevrstan reljef koji u sebi nosi inskripciju svi pređašnjh korisnika, posetilaca i događaja, koji se smenjuju za vreme njegovog trajanja. Posmatrajući predeo kao podlogu za kartiranje raznih scenarija, platno postaje narativ. Kao prostor koji predstavlja polje igre slučajnosti i namere, postavka nudi niz specifičnih podloga pogodnih za vid spontanog performansa, mameći posetioca na interakciju i čineći ga delom postavke u zajedničkom činu stvaranja serije tragova.”
– Iz teksta autora –