Nicole Lenzi
Statement (Main)
In my art, I question what a drawing is and how it can affect thinking. I am interested in non-traditional drawing. Works are composed of marks that, referencing artist Avis Newman, are "signs of thought". Time and space are integral to this investigation to expand my notion of the medium. Time is a system of measurement while space invites unusual formal dialogues. Influenced by Eastern philosophy and Luce Irigaray, I aim to create “in between” these three entities (drawing, time, and space). It is there that experimentation can happen and I am open to what can be.
 
Avis Newman's statement, “A mark is sign of thought.”, informs my work on many levels. First, it encourages me to concentrate on what is happening in my mind as I work. How does thinking form in relation to the movement of my hand or body? This has led to an interest in in the relationship between drawing and time. How is time experienced during the act of drawing? I also am interested in how various philosophies, particularly Eastern and Irigaray’s, can inform and guide my practice. Both  encourage forming even perspectives from an in-between place.

Traditional drawing is a rendering of a subject on a two-dimensional surface. In my work, drawing becomes a tool to expand how I can experience the medium and thinking. I am interested in a drawing becoming a part of the space it fills and growing and changing over time. Rather than a separate, finite entity, it functions organically in response to what is around it. This type of drawing also moves fluidly between dimensions and mediums to keep evolving in unimagined ways.

The Eastern concept of non-hierarchy influences how works are conceived. Non-hierarchy is a core component of Taoism and Irigaray and is explored through gender relations.  Both philosophies are perpetuated by the interplay of opposites; male/female.  The masculine is considered hard edged and closed while the female is open and without boundaries. Coexistence between genders occurs by yielding to the fluid feminine. 

I align my installations and spatial drawings, Conglomerates,with these ideas by tracing and extending shadow lines between diverse materials, dimensions, and structure sizes. This creates a reciprical dialogue between the work and space.

Recent works are created in timed increments, allowing for reflection. In both my 3D and 2D works, shadow lines are traced over several minutes or hours. Surprise alignments bring about moments of insight and clarity. Where 2D works are composed of hand drawn lines, 3D works reconsider how a mark can be perceived.

Resulting drawings become framework for consideration.



About Conglomerates
Conglomerates stem from the idea of non-hierarchy. These spatial works   grow in relation to their environment. They are composed of the common materials found there and become interdependent on the spaces they inhabit to manifest. Shadow lines are traced and interconnected between contrasting materials and space to forge dialogues.  This perpetuates the structures to expand into their environment and change organiclaly in form over the course of time.  Conglomerates have been created in galleries, home interiors, and more recentlyoutside.
 


Current Series Progressions and Shuffling(s): Dialogue Between Dimensions:
The Progressions series explores a dialogue between dimensions and media to expand how to see and experience drawing. 

Conglomerate (Progressions), are composed of cement slabs and plexiglass (and sit on cement). The term relates to musical chord progressions produced over time to stir harmonies. Made in relation to shifting sunlight and shadows, they were constructed outside over the course of several days and/or hours. Shadow lines are observed and recorded on and from materials to mark shadow movements and extend the drawing activity. Different stages are photographed to record unexpected alignments.

The works on paper, Progressions, are a series of reductive still lifes created from single digital images of Conglomerates. They pull out the darkest darks and lightest lights, revealing shadow pathways.

Shuffling(s) works on paper are created in response to concepts explored in physicist Carlo Rovelli’s The Order of Time. Rovelli writes about experiencing time at the quantum level with no past, present, or future. In correlation, Shuffling(s) are generated from multiple overlays of digital images of Conglomerates that were taken within seconds of each other. Unforeseen harmonies and alignments emerge from the process.

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