Posts Tagged 'narrative'

Drawings in progress/Test drawings: Carroll/Green.

Katica Pedisic

Wednesday 28 April

Serial Space 7pm – 10pm

Carroll/Green is the working title of a collaborative drawing project (my colleague is Damien Chwalisz of Roarkus Design Studio) forming part of Intimate Immensities.

Carroll/Green comprises a series of ‘architectural’ drawings that test the drawing as a site of exploration for the potential of communicating something more than what architectural drawings, traditionally and straightforwardly convey.

The first thoughts were to analyse the spatial phenomena of our respective surroundings (Carroll street, North Melbourne: me; Green street, Brompton, Adelaide: Damien), noting the parity between the spatial arrangements of the spaces and the fact that we were both living and working from these sites and as we, ourselves were ‘processing’ them.

The drawings begin with the pure information of the physical elements of each respective space, and then the drawings are ‘built’ in layers of pencil, ink and other media, to attempt to articulate something other than just these physical elements of structure. Duchamp calls this the ‘incommensurables‚’- something beyond just the static material and structural reality of the space.

There are two concepts that underlie these tests, these explorations in drawings:

The first is to ask what drawing is, but also acknowledges that I don’t yet know what drawing can be, and what drawing can do.

The second is to become aware that as I act on the drawing, the drawing also acts on me.

In this circularity of process that the drawing, my ability to draw and think visually and therefore the design, is enriched in the enduring unravelling of linework.

This is an area of research crucial my practice as an architect- crucial at this juncture of the saturating uptake of digital drawing practices amongst architects- which creep stiflingly closer to crowding out the hand drawing, the potentials of thinking through the sketch, at the initial design stages of the design process. I stand up for using drawing as a critical method in my research, in my design thinking. Exploring the spaces of drawing, makes attempts at investigation and discovery in which the process and the product combine.

To cite Duchamp once more, it is this ‘blossoming’ of possibilities, intimating the idea of expansion. I am after an expanded field of drawing.


Katica Pedisic is an architect, but currently mostly undertaking a PhD by project at RMIT, her area of research being the act of drawing as mediating the emergence and perception of space. She has exhibited her spatially based drawings at several SA galleries and has lectured in architecture in design studios at the University of SA in 2008 & 2009, also having taught as a sessional staff member there since 2002. She has worked as an associate at Con Bastiras Architects, a tiny studio located in Adelaide, their projects recognised with numerous state chapter RAIA awards and published widely in Australia and internationally. She established her practice, antidote, in 2008, specialising in small projects with an emphasis on process-based explorations.



Carolyn McKay

Thursday 29th April, from 1pm-3pm

Bon Marche Studio (UTS Bldg. 3, Lvl. 1, Rm. 105)

Presentation: 20mins.

As eyewitness testimony is given viva voce, (by word of mouth) my digital video and photomedia works explore how the human voice in a murder trial is an instrument of resuscitation, linking the present trial with the past crime scene. My research explores the phenomenological nature and paradoxical elements of testimony, focussing specifically on the voice of the witness.

Despite advances in forensic sciences, live eyewitness testimony plays a key role in murder trials. Whilst the ultimate goal of the testimonial process within the adversarial system is the production of an alleged objective truth, the entire process elevates subjective, phenomenological human experience and oral expression. Through the testimonial act and unique vocal print of the witness, the private, secret and sensorial experience must be externalised viva voce into the public discourse. It is with the accumulation of living testimonies, flesh-and-blood accounts and contradictory multiple viewpoints, that a narrative is plaited, the past crime scene may be reconstructed and a semblance of objective truth becomes apparent.

Using the medium of digital video, I explore the role of the human voice, and associated nonverbal communication, in articulating memories and the inner subjective experience. My methodology has involved attending murder trials and harvesting speech fragments from the various witnesses’ responses. I use these speech fragments in my video work, often floating them from a disembodied mouth, ‘orphaned’ from context. I aim to highlight the ambiguities in murder proceedings: the intersections of truth and fiction, the slippages of memory, the non-linear presentation of diverse narratives and the divulging of secret, private information into the public arena. In so doing, I wish to tap the tenor of the live trial experience, and create mere fragments of testimonial evidence for the viewer to ponder and engage with in an activity of speculation and interpretation.

Carolyn recently completed the MVA at SCA using digital video and photomedia to explore eyewitness testimony in murder trials.

Her paintings have been selected for major exhibitions including the Archibald Prize, Salon des Refusés and Portia Geach.

She has held solo shows in Sydney and Newcastle, as well as participated in group shows around Australia, Finland, Brazil and New York. Carolyn has been an artist-in-residence at The Lock-Up and Arthur Boyd’s Bundanon. In March, she will hold a solo show “Reports of Crime Etc., Etc.,” at The Lock-Up.

A two day forum of creative research, experimentation and practice held from April 28-30 at the University of Technology, Sydney, and Serial Space Gallery, Chippendale.

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