Hunters Point Naval Shipyard | San Francisco, CA
More thoughts about line, and Richard Serra
Posted on Feb 19, 2012 in artwork | 10 comments
Since returning to figure drawing after a long absence, I’ve been thinking more and more about line. I wrote in my last post about expanding the definition of line. But yet, the drawn line keeps confronting me. It does make sense, since I’m in the studio every day to create. After the initial thought phase (time line?), the actual creation starts with a line, or at least a mark.
In addition to drawing again, I’ve begun a new series of paintings in a different medium. I can’t help but think that this will also play into further exploration of line. At the least, there will be an attempt to use this new found interest in a way that informs and enhances the work.
Related to this topic, the sculptural work of Richard Serra comes to mind. Here is an example of line that assumes a very physical presence. Granted, that a 100 ton steel sculpture will always have overwhelming presence. But to me, it’s the delicately curving, arching lines that posses the real power. Distancing ourselves by just looking at the photos, this idea becomes apparent.
Thanks to all that are reading these posts. I’ve enjoyed the challenge to be creative in this larger, self publishing platform. Having a conversation in written word has awakened a new level of thought within me. In fact, that sounds like an idea worth expanding on in a future post.
best regards, Howard
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during my teaching career, i used to tell my students that there are 4 types of line you can put down to create form (we were using drawing pencils) when you are doing realistic drawing. they were a thick, dark line, a thick, light line, a thin dark line, and a thin light, line (we spoke about changing the characteristic of the line).
what line do you think i would tell them you should never* use?
(*never say never, james)
Is this a trick question, Joe? The only type of line I would discourage would be a self-conscious one.
Love reading the words, Howard. Thought provoking.
thanks, Cheryl
I appreciate your thoughts, Howard. Having been a sculptor for many years, I think the idea of ‘line’ never occurred to me. Now that I’m painting more than sculpting, that has changed somewhat. You introduce a new way of thinking for me. And a new way of seeing Serra. I can’t imagine that it would become my way, but that doesn’t make it less interesting to me….Carol
thanks, Carol
Howard, when I walk between massive Serra sculptures the last thing I ‘feel’ is linear….I feel the mass of the sculptures and the weight and textures. However, looking at the pictures of them, I ‘see’ the lines.
Yes, of course you’re right. Serra’s work evokes sheer presence. Here are Serra sculptures, highly touted (rightly so) for their physicality. And yet, without the graceful arcs and curves, they would be lacking. So, when I THINK about his work, I see the lines. That’s all I was getting at. That line is elemental and underlies most things.
Howard, your post and the responses certainly expand the definition and the importance of line.
In life drawing classes we always started with gesture drawings and then when ‘warmed-up’ we would draw the model with a single line without looking at the paper and without lifting the pencil from the paper.
When does a line become a form? When does a line become a shape? When is a line no longer a line?
Good questions, Ian. On my latest painting, some of the lines actually formed shapes. The painting in question is on my fb wall, posted last thurs.