DRAWING AND THRESHOLDISM, TO KNOW OUR INNER SELF

🔊 Listen to Post

I would like to emphasize that through drawing, that ability that we have  -much or little-n to represent through graphic images different ideas, conceptions, imaginations, thoughts, sensations that emanate from our interiority, whether consciously or unconsciously, we can in a creative way know and understand what we feel and what we think. This artistic medium allows us to respond, among other things, to what we want to be and what we are in the present moment.

Traducido al Español

Great ideas occur during the process of this system, but with greater intensity when we develop our capacities to draw what we feel and think, what emanates from our interiority. It is not only the fact of drawing, but of giving free rein to that immense capacity we have of representing our sensations and thoughts, through images, which in our western system has generally been diminishing, deteriorating, and generally all our efforts are concentrated in the dialogue with the written letter, whether reading or writing. However, as we release our capacities in the plastic activity of drawing, we give credit to our creative and artistic possibilities. Function makes the organ.

In order to have a different mechanism than the traditional ones for translating these drawing images, I would like to briefly transmit what I have been able to observe and experience through a practice I have called thresholdism, which is a form that allows us to understand two or more elements that are contrasted in this system. The threshold is a portal defined at the limit of transition in which the elements, procedures, ideas, and in our case the information contained in graphic images are contrasted, enriching themselves by illuminating their essential constitutive parts. Analysts (observers and researchers) who could apply this procedure are encouraged and impelled in their creative and interpretative functions, becoming aware of the participation of the unconscious, which in turn is transmitted in this state of transition through the activated threshold.

In my book Tap Tap, Plastics and Poetry I resort to this system to evaluate the Macro-plastic Complexes that I use to determine the parts of each plastic work as to its outstanding characteristics. We can say that two or more elements are enriched for their assimilation, reaction and comprehension when they are contrasted at this threshold; that is, they are placed temporally, spatially and numerically at the threshold within their borders and are analytically confronted in this continuum defined by its “limit dimension” revealing its secondary (PII) and tertiary (PIII) properties. It is a process that begins and ends in a peremptory time; however, it has the faculty to restart again to bring us closer to our goals.

Passing through the threshold is similar to the activity of introducing a special contrasting liquid into the human body in order to observe it through X-rays, that is, the operating system provides us with both quantitative and qualitative analytical mechanisms to know the plastic elements of the whole work, as well as its essential constitutive parts, both basic and outstanding illustrative. Likewise, it has the object of obtaining the relative differentiation between (physical) sections of the drawing or painting, previously selected, with respect to the dominant plastic elements.

As in other writings I have mentioned, if anyone would like to have more information or some extra information about this that I have written in this or in some other, I can gladly provide you immediately all the information that you request.

I invite you to read this other writing:

DRAWING, TO KNOW BETTER OURSELVES

Loya Lopategui, Carlos, Tap Tap, Plastic and Poetry, EMULISA, México, 2017. 

Traducido al Español