We live in a drawing. All around us needs this tool in some of its production steps -clothes, buildings, signals, codes, clocks, mobiles, newspapers- like a bridge between creator’s mind and the object, between the thinker and his theory or the artist and his work. Drawing has been used to document, to analyze, to understand, to visualize, to invoke, etc. from the Stone Age until now; and in visual arts it has been the backbone and main discipline, a tool used by the rest of the arts since the Renaissance, but often considered a little sister, an intermediate step to reveal the process towards the great masterpiece.
But this situation has changed in the last decades, particularly from the nineties of the past century, if we attend to historians as Emma Dexter in “Vitamin D. New Perspectives In Drawing”, one of those compilations volumes that show the increasing interest in drawing nowadays. Drawing has always been there, wrapping up and showing the processes, from the most traditional ones to the annotations and conceptual registries of the seventies, but since the nineties we can see the birth of an artist generation which uses the drawing as a mean itself, that think it is strong enough to recreate their own universes without the need for other tools. An emancipation of this discipline takes place and proclaims its worth in a period that gets rid of the tyranny of the movements and where a huge variety of expression forms coexist.
Drawing grows up and expands itself from paper to wall, from animations to digital supports, colonising territories and adding value to those forms of drawing related to cartographies, scientific registries, design, therapeutic exercises for crazy people, schoolwork, illustration, embroidery, industrial concepts, typographies and almost everything. Firstly, opposed to the enormousness of the eighties, drawing takes cover in small formats and fragile materials, in a constant persistence of new generations in denying the previous ones, but then scales get bigger, mixing with other means, claiming its place in the present time and in this chaotic celebration in which we have turned the contemporaneousness
If drawing is not now “the honesty in art” as Ingres said, at least it is one of those less travelled ways to deepen, a country that offers freedom and immediacy searched by many new creators, a shorter path between the idea and its representation, a track to let go, freestyle, with determined hand and the sound track of our time.
Uncertainty is the price you have to pay for freedom. Living in a world where compasses do not work, brings us infinite possibilities, not all luminous, not all disastrous, so it becomes difficult to distinguish the best dates in an immense palm grove.
There were former times where everything seemed less blurred: there were rules to follow, an order to respect. It was the time of the Academy. But a young century, as it was the XX, could not allow comfortable generations, so with a military term -vanguard- they overthrew to the old system, but always trying to introduce a new one, new rules for new times. The armies were happening until they became a cacophony of military bands that did not know well what war they were fighting. Military terms seemed too rough for these good times, so everything became more liquid and blurred, and tendencies and relativism appeared. And after invoking for freedom too much, it seems that at the end, it ended up appearing. We already know what happens with the fulfilled prayers.
To many intellectuals, which in the past were called revolutionaries -even brand new- this situation seems excessive, where the certainties of their youth now are only another shelf in the driven mad Babylonian library, where the hierarchy of the progress and the speeches, with genealogical tree form, end up embroiling in a forest of tangled vines.
Young people, who don’t like mothballs and neither harshness, are pleased with this dance, that allows them to think they are inventing the past again, plundering the winter palaces without regret, and thinking that is far better watching the film that reading the book, or that Rome heritage is the Cesar Palace in Las Vegas.
Hell or paradise, is our time. A time where you have to look for your beliefs among hundreds of smaller and greater Gods, multicultural, objectivist, tolerant or inflexible, fair or false, pirates, privateers and freebooters, because in this choice the future is being decided, but the best part is that we do not know how it will be, if it will make us giants or insignificants, heroes or villains.
Meanwhile, let’s enjoy our years rescuing miracles from waste, small drawings, songs, verses, the little or much that we are leaving, betting to red or black, playing rock - scissors - paper, convinced that being this time the best or not, we have to fight for it.
Catlogue FreeStyle. La Naval/Cajamurcia. Cartagena, 2013