UNITY OF OPPOSITES 7-12

This is the second installment of our look at Unity Of Opposites as they apply to Transparent Drawing.  The first installment can be found here.

Seven
TD:  Real Object                                                       RS:  Faithful Vision

Drawings that operate in representational mode depend upon being faithful to a vision.  It has been argued for eons whether artists accurately render nature, or what we call reality.  By most accounts, of course, artists to not render reality with any accuracy.  Any representation depends upon the vocabulary and how faithful the artist is to that.  If you operate within representation, you must adjust your vision of what you are drawing according to the vocabulary of how things should look.  Whereas within TD, the real, actual object is all that matters.  This is similar to Cubist Spacetime, in which they threw out all of the Representational constructs and focus solely on the depiction of say a guitar, pushed up flat onto the canvas.  Nevertheless, the Cubists did focus on the object.

Eight
TD:  Making                                                             RS:  Matching

We make the knowledge that we derive with Transparent Drawing.  Our understanding is established as a result of us actively engaging with the objects that we are interested in.  We must make our understanding, given that our knowledge is time dependent.  To make something requires time, and our multiview understanding is only possible because of time.  Whereas in RS, it is a mode of matching.  When we represent an object, we must match what is on our paper with what we see.  When we represent, we match our memories and experience with what we are drawing.  Matching therefore is passive.  Whereas making is active.

Nine
TD:  Experimentation                                              RS:  Formulaic

You can draw any way you want in Transparent Drawing.  You can combine projection methods.  There is the Choisey One Point.  There is no limit.  Whereas to make a representational drawing represent the object, you must draw according to a formulae.   Nearer objects are larger than distant objects;  that sort of thing.  Distant objects have lighter tones and foreground objects have darker tones.  That sort of formulae.

Ten
TD:  Educated Eye                                                    RS:  Innocent Eye

Treatises on RS extol the virtues of the innocent eye.  In this mode, the painter, the representer, is to forget all they know about what they are looking at.  In this manner the representer only responds to what they see as presented by nature.  It is then expected that the resulting work will be a fresh response to the view at hand.  However, in TD, there is no forgetting what you know:  what a ridiculous thought!

Eleven
TD:  Filterless Technique                                      RS:  Technique as Filter

So a painter wants to represent a scene in nature:  do they paint what they see?  No.  Instead, the painter paints how they learned to paint.  That is, they learn a technique, and then they use that technique to paint.  The technique becomes a filter for what they see.  Whereas in TD, there is no filter, simply because the application of a technique is not required.  All that matters is that you draw a compete resolved object, however you elect to do it.

Twelve
TD:  Form                                                                 RS:  Light

In Transparent Drawing, we are interested, first and foremost, in form.  Whereas in Representational Spacetime, the principal concerns are light and texture.  If the representational artist wishes to represent water, they are confronted with the expression of reflection, shimmering, smoothness, etc.  And the water that we wish to represent won’t “look like water” unless we get an emotional conveyance of these qualities.  By contrast, in TD, if we wish to depict water as part of a site study, a simple flat tone will suffice because we see how the surface relates, transparently, to the volume of the fluid.  So, yes, when we draw water in our drawings, we draw the form of the water volume.

________

I selected the drawing above given that it says something about the Unity of Opposites.  I based the drawing on these scientific graphs that I found:  I was interested in the loose geometrical interplay of the graph lines.  Using Form Projection, I was able to generate my drawing