Voice Drawing (2017)
Working at the edge of contemporary drawing practice, Taylor’s focus has shifted to the physicality of drawing, creating intimate drawing experiences and exploring the correlation between drawing and speaking/guttural sounds. Her interest lies in how drawing practice can be used as a method by which to explore relationships between drawing, the act of speaking and our senses, and how one can be caught in a space of action, linking the drawing to the sensual, physical part of ourselves.
Drawing anchors this project through intimate levels of engagement where the audience are immersed in to a dark space, the drawing felt through the sound of the artist’s voice creating a visual in the audience’s mind space – the marks made by sound revealing fragments of truth. Considering drawing primarily as a performative exploration, Taylor produces dynamic drawing ‘experiences’. Avis Newman makes a drawing analogy:
Between how we experience unconscious emotions in the repetition of and accumulation of marks (irrespective of what is being drawn) and the intonation, hesitations and inflections of speech, all of which hold a complexity of messages and can be at odds with what appears to be said, but which nonetheless determine meaning. It seems to me that this occurs independent of sight, as that which is generated by the mind and mediated by perception
(Newman and Zegher, 2003, p81)
Central to Taylor’s practice is the question as to whether it is it possible for one to ‘hear’ drawing and ‘see’ speech/sound? This Voice Drawing takes the form of a drawing sited in space laden with Taylor’s breath, murmurs and utterances, moving actions through time, yet sometimes suspended to capture intimate moments of recognition. The mark-making of the voice moves with gesture, rhythm, repetition, interruptions and silent spaces: a sub-language but still full of meaning, her voice orchestrates within the space revealing an emotive truth, an embodied act with no filter revealing itself at the surface.
Taylor focuses on the theme of ‘Home’, inviting her audience to experience drawing as sound. She re-tells her connections with people of different nationalities where they were asked the question: What does ‘Home’ mean to you? Voices are projected through sound, as a darkened space becomes laden with the spoken word, intimate thoughts and murmurs. Home is a drawing experience, allowing participants to collaboratively respond to the work.
The questions around drawing and its correlation to our bodily gesture senses, specifically the act of speaking, is at the core of Taylor’s practice as she explores possibilities within the expanded field of drawing: where drawing and performance meet. Dialogue and conversation are fundamental elements in Taylor’s work, her connection with people taking on a level of intimacy and engagement in to the drawing space.
‘Home’ is an exploration of drawing and performance, where Taylor considers the dynamism and presence of a drawing in space. Is it possible to ‘hear’ drawing and ‘see’ speech?