Battleship Game Drawing Phase
An uninterrupted session of 246 25 minutes of drawing process shaped hours and mere play a priori.
Once the time of drawing was concluded the wall was drilled making literal use of the sinking of the fleet and destruction of that one. The video game screen breaks down to interact with the world itself. Potential energy that in kinetics turns the game to exhaustion. Idea, image, work and redoubt seem to merge entropically without knowing very well where one ends and the other begins.
At first I wanted to get rid of the pieces of "debris", committed to living the work without subjecting it to residue, redoubt, object. But everything was more elastic, and I understood that at that moment it began: in its demolition, demolition, catastrophe, sinking. The body (is) restarts and can be offered, proof of something that was and has been revealed. It can be returned to the sea, if in the idea of ship was already there.
Research in the vertical and opaque form of a missing architecture as a legibility structure.
On these walls I draw and shape images of the surrounding environment. The drawing elements maintain, serene, representations of landscapes, animals, boats or schemes and graphics.
Dance whose rhythm is marked by the needs of the drawing that, through movements, gestures and small accents, causes interaction with things (as perception of objects). Things, allowing us to remain "real", appear as stable symbols of what, for the moment, we can trust (before knowing them as parts of a hologram detached from the limits of the universe).
HD Video I Battleship Game, Drawing Phase 4:10’25”
HD Video II Battleship Game, Drilling Phase 3’40”
Thus, it could be said that drawing is a register of behaviors and attitudes that become something else in the very act of its materialization. Something is perceived - from the act of dance or the practice of an attitude pushed by the attempt to be - through drawing. Assuming the possibility of error in each new impulse as an "interruption of the false and installation of an area of freedom" (Rebecca Schneider, 2010). Even when you are standing still you are in motion, so you move constantly, you don't pose.