In the ever-evolving landscape of artistic expression, the humble sketchbook has long been revered as a sanctuary for the creative mind – a place to capture fleeting ideas, experiment with techniques, and nurture the seeds of inspiration. However, as modern artists continue to push the boundaries of what’s possible, the sketchbook has become merely one tool in an ever-expanding arsenal of innovative drawing practices.
Now, this might seem counterintuitive…
Expanding the Canvas: Drawing on Unconventional Surfaces
While the traditional sketchbook provides a familiar and portable format for drawing, many contemporary artists are embracing the creative potential of working on unconventional surfaces. Dane Patterson, for example, describes his series “Object Studies” as exploring the “imagined combination of disparate, seemingly unrelated objects” – a process that often begins with drawings on found materials or repurposed objects. ”The more incongruous the combinations, the more I found I liked the result,” he explains. By breaking free from the rectangular confines of the sketchbook page, Patterson’s drawings tap into a sense of spontaneity and chance, allowing the unique properties of the surface to inform the final work.
Similarly, the Instagram account of The Drawing Center in New York City has featured artists who push the boundaries of traditional drawing, including works on everything from wood panels to discarded cardboard. ”Cutting-edge science, unraveled by the very brightest living thinkers,” the museum’s caption reads, highlighting how these experimental drawing approaches can intersect with innovative modes of thinking and storytelling.
Kinetic Drawing: Incorporating Movement and Performance
Another way that artists are subverting the static nature of the sketchbook is by imbuing their drawing practices with a sense of movement and embodied expression. As artist John Hendrix describes, “My drawings often give the impression of a maximalist aesthetic which is true visually but I try to design them so that they are clear and easy to understand.” Hendrix’s process involves a great deal of iteration and responsiveness, with the drawings themselves leading to the next idea. ”A lot of my best ideas don’t come from ‘thinking of a good idea’ but from the act of drawing itself,” he explains.
For some artists, this kinetic approach to drawing extends beyond the page and into the realm of performance. As Shaun Tan describes in an interview, “Drawing and painting is very much like meditation in a lot of ways, and it is a mental space I don’t get into as easily with distraction.” By embracing the physical act of mark-making, these artists blur the lines between drawing, dance, and other time-based media, inviting the viewer to engage with the work on a visceral level.
Drawing as Documentation: Observational Techniques
While some artists are pushing the boundaries of what drawing can be, others are returning to the fundamental practice of observational drawing as a means of documenting the world around them. As Tan notes, “Even when I’m drawing the real world, I come to appreciate that all the things I’m used to recognizing, labeling, bestowing with meaning and function, are actually deeply mysterious phenomena.” This heightened awareness of the strange and wondrous aspects of the everyday can infuse even the most naturalistic drawings with a sense of magic and discovery.
For Tan, this process of close observation often serves as a springboard for imbuing his work with a sense of wonder and possibility. ”I begin to feel like an alien anthropologist, or maybe a very young child, studying every line, shape, texture and colour as if you’ve never seen it before,” he reflects. By slowing down and immersing themselves in the details of the world, these artists are able to uncover new ways of seeing and new avenues for creative expression.
Tapping into the Subconscious: Automatic Drawing
Alongside these observational approaches, many artists are also embracing spontaneous, intuitive drawing practices as a means of accessing the subconscious mind. Dane Patterson describes his “Insomnia Notes” series as “a stream of consciousness; an often messy fusion of whatever thoughts spontaneously pop in my mind as well as references to things I’m reading or viewing.” By allowing their hands to move freely across the page, unencumbered by preconceptions or conscious control, these artists are able to tap into a wellspring of creativity that may lie beyond the confines of the rational mind.
In a similar vein, Hendrix speaks of the value of “wakeful dreaming” in his artistic practice, where he aims to “just be there to listen and transcribe, and try not to censor or edit too much in any first draft.” This emphasis on spontaneity and flow can unlock new pathways for creative expression, blurring the boundaries between the conscious and subconscious realms.
Interdisciplinary Approaches: Drawing and Multimedia
As the field of contemporary art continues to evolve, many artists are also exploring the intersections between drawing and other media, utilizing a range of techniques and materials to expand the possibilities of the medium. As Dane Patterson explains, “Sometimes the work is in reference to particular things and photography or photo manipulation software becomes a part of the working process.” By incorporating digital tools, found objects, or even performative elements, these artists are able to infuse their drawing practice with new layers of meaning and expression.
In the words of Shaun Tan, “I understand reality as semi-fictional, and vice versa, fiction constructs reality.” This blurring of boundaries between the real and the imagined is a hallmark of many contemporary drawing practices, which often incorporate elements of storytelling, fantasy, and the unexpected. As artists continue to push the limits of what drawing can be, they are not only expanding the technical capabilities of the medium but also inviting viewers to engage with the world in new and transformative ways.
Embracing Mistakes and Unexpected Outcomes
Underpinning many of these innovative approaches to drawing is a willingness to embrace the unexpected and even to celebrate the role of chance and error in the creative process. As Hendrix notes, “I have found over the years that work improves dramatically in the first, second, or third iteration but beyond that you reach a point where the idea can only improve incrementally and perhaps even get worse.” By remaining open to the surprises that emerge through their practice, artists are able to unlock new avenues for creative exploration and discovery.
This spirit of experimentation and risk-taking is echoed in the words of Tan, who describes the value of “wakeful dreaming” in his own work. ”When painting, drawing or writing is going particularly well, I always feel it’s a bit like wakeful dreaming,” he reflects. ”I’m just there to listen and transcribe, and try not to censor or edit too much in any first draft.” By embracing the inherent unpredictability of the creative process, these artists are able to tap into a wellspring of inspiration and innovation that can transcend the boundaries of the traditional sketchbook.
Indeed, as the art world continues to evolve, the sketchbook itself is being redefined and reimagined in increasingly exciting and subversive ways. From drawing on unconventional surfaces to incorporating movement and performance, from tapping into the subconscious to blending disciplines, today’s artists are pushing the boundaries of what drawing can be. By embracing the unexpected and celebrating the role of chance in the creative process, they are not only expanding the technical and conceptual possibilities of the medium but also inviting us to see the world anew. As Shaun Tan so eloquently puts it, “Reality is always going to be as much as you can imagine is, and then a whole lot more that you can’t.” It is within this vast and mysterious realm that the contemporary drawing practice continues to thrive and evolve.
Tip: Practice daily sketching to continually refine your technique