Manifesto Drawing (Mop)

Curated by Dr Irene Barberis, 'Contemporary Australian Drawings 1' was a new survey on Australian drawing as part of the international Drawing Out conference. Artists included Jenny Watson, John Wolsley, Hilary Mais and Creek. In this work Creek explores Rosalind E. Krauss' idea of an expanded field of sculpture and the role of the indexical mark. Creek's work suggests just as the process of drawing and assembling material in a narrative field reveals knowledge it is also revealed through how the form is experienced. As part of a series of works, 'Manifesto Drawing (Mop)' examines the drawing in its verb sense in sculptural terms. Exploring the concept of drawing as public gesture based upon Bertold Brecht's concept 'social gest' in Barthes, R., 'Diderot, Brecht and Eisenstein' (1977), Creek installs a material structure or ground on which a mopped graphic gesture is performed or marked - manifesting a grotesque, or possible social gesture, on paper in a public space. The work is supported by both the ground and the wall manifesting also as a gesture in space. Creek's work forms part of the larger 'Drawing Out Conference' research agenda that psychological space can be made to coexist with pictorial space, enabling a personal revision of history. The exhibition formed part of the RMIT University & University of Arts London Drawing Out conference. Special addresses were made by Roostein Hopkins, Professor of Drawing Stephen Farthing (UK). Artists were featured in the publication Dr Janet McKenzie's 'Contemporary Australian Drawing' (2011).本数据集《当代澳大利亚绘画1》（Contemporary Australian Drawings 1）由艾琳·巴伯里斯博士（Dr Irene Barberis）策展，是国际“Drawing Out”学术会议推出的澳大利亚绘画主题全新调研项目。参展艺术家包括珍妮·沃森（Jenny Watson）、约翰·沃尔利（John Wolsley）、希拉里·迈斯（Hilary Mais）与克里克（Creek）。在其创作中，克里克围绕罗莎琳德·E.克劳斯（Rosalind E. Krauss）提出的“拓展的雕塑场域”与索引性标记（indexical mark）的作用展开探讨。克里克的创作表明，正如在叙事场域中进行绘画创作与材料组装的过程能够揭示认知，认知亦可通过观者对作品形式的感知得以呈现。作为系列创作的一环，《宣言式绘画（拖把）》（Manifesto Drawing (Mop)）从雕塑维度解析“绘画”作为动词的内涵。该作品基于罗兰·巴特（Barthes, R.）1977年出版的《狄德罗、布莱希特与爱森斯坦》中提及的贝托尔特·布莱希特（Bertold Brecht）“社会姿态”（social gest）理论，探讨“绘画作为公共姿态”的概念。克里克搭建了一处物质性结构作为基底，在此基底上完成以拖把为工具的图像性创作，即于公共空间的画纸上呈现出一种怪诞且兼具社会属性的姿态。作品依托基底与墙面进行展示，本身亦成为空间中的一处姿态符号。克里克的创作隶属于“Drawing Out”会议的整体研究框架，该框架旨在实现心理空间与图像空间的共存，从而为个体的历史反思提供可能。本次展览是皇家墨尔本理工大学（RMIT University）与伦敦艺术大学（University of Arts London）联合主办的“Drawing Out”会议的组成部分。本次会议特邀罗斯坦·霍普金斯（Roostein Hopkins）、英国绘画教授斯蒂芬·法廷（Stephen Farthing）发表主题演讲。参展艺术家的相关作品被收录于珍妮特·麦肯齐博士（Dr Janet McKenzie）2011年出版的《当代澳大利亚绘画》（Contemporary Australian Drawing）一书。