In haar artikel over tekenperformance (specifiek over de performance van Katrina Brown en Rosanna Irvine) heeft Brooke Carlson heel mooi verwoord waarom ik het performatieve van een tekening onderzoek en waarom ik het tekenen in mijn performance gebruik. Een tekenperformance laat het ontstaan, maar ook de geschiedenis van een tekening zien, in de vorm van sporen van de tekening. De toeschouwer ervaart zo de bewegingen tussen heden, verleden en toekomst.

Brooke Carlson explains in her article  one of the reasons why I am researching how to use performance in my drawing practice and how to use drawing in my performance practice.

” If drawing is the trace of an action, and action is transitory, could drawing then exist as a perception of time in space? ‘Time Trace: a drawn perception’ investigates the tactility of the drawing discipline specifically within the context of performative practices. The article aims to discover the act of drawing as a way of marking time and the role of tactility in the experience of live action. By examining the collaborative project, what remains and is to come by Katrina Brown and Rosanna Irvine, the article explores how artists activate the auditory and visual senses to discover the transitory space of past, present and future. In relation to temporal experience, Henri Bergson’s phenomenology of ‘successive sensations’ is analysed alongside Amelia Jones’ interrogation of materiality concerned with the performative use of the artist’s body.”

” In terms of live drawing, there is a further spatial complexity. The audience observe the body in space creating (drawing) space. Not only does the audience share the present time in which the action is performed, and the drawing created, but they experience the duration of time and thus movement between the past and the future.”

Brooke Carlson (2016), Time trace: A drawn perception, Drawing: Research, Theory, Practice, Volume 1 Number 2, © 2016 Intellect Ltd Project Reports. English language. doi: 10.1386/drtp.1.2.223_1, pp.223–234