Between drawing and sculpture

Gavin noticed a clear movement from drawing into sculpture in the MA show. A thin red line delineated a field of sand from the floor and then the installation moved into forms and ground. He linked this to early works by a sculptor who allowed lines to leave the wall and become material in space. I recognise this path. Photographs of foam outlines became simple line drawings made as continuous rhythms. The drawings trained the hand rather than planned outcomes. That learned rhythm informed carve, pour and placement.

Drawing never left. It changed form. A seam between plates is a drawing in space. A narrow gap is a line the body reads while walking. In a new series titled What the Water Keeps, field drawings sit with ceramic fragments so that line and shard complete each other. The drawn current finds its edge in matter, and the fragment reads as a held gesture rather than a loss. Working on paper with fragments confirmed that spacing does the real work here. A small pause between mark and shard becomes the seam the eye follows. Precedents that help frame this shift include early room works by Eva Hesse where line is literalised in space and material fragility is kept active (Temkin 2002), and reflections on drawing with water as a way to register change over time rather than depict it (Kovats 2014).