Objective

 

The socialization of the tracing project with the Guayacanes group, aimed to introduce the elderly population into the pleasure that comes with observation and detailed drawing of the palms of their hands. Through the tracing, an attempt was made to bring people closer to the particularity of their own hands, the observation and follow-up of the lines that run through them, the footprints they carry, and to comment on their life stories. Articulating his past and present in a laborious action on a drawing in medium format and long term. Also recognizing in this, the gestures of their behaviors, temperaments and bodies when entering this device of line and temporary office with the image.

 

Scope

 

• 15 participants from the Guayacanes de Prado Centro group

• 3 Sessions

• 1 day of socialization and taking pictures of the palms of the hands

• 2 day tracing process

• 3 day completion of tracing and reflection through the phrases of the participants

 

During three days of drawing sessions with the Guayacanes group (Prado-Centro) reflections were developed on the recognition of one's own image through a tracing process.

In the last session, the various phases of work that were carried out were socialized and we were able to realize that from the detail our relationship with the other and with ourselves can be visualized in a different way.

 

Background

 

In terms of practice in art education, the Tracing project seeks to generate what is called an artisanal temporality. It is done through an action that is initially simple, but as it is repeated and improved, it brings people closer to aspects of the image such as detail, tones and composition; Over time the tracing becomes extremely detailed, and brings with it a large number of artistic decisions and technical or technological advances to be improve the work.

 

Little by little, the possibility of doing it better and entering a state of sustained observation of the image makes this artisan time appear. Leaving aside at times the completion of the image and making people focus on the pleasure of doing and observing: details, structures or forms, that in their daily way of observing objects, textures or images they do not see.

 

Currently, we have developed the project with two types of communities. On the one hand, college students: working with them the tracing of the same image several times in medium formats, and using images that range from the architecture of their everyday spaces and the objects they use frequently, to high-detail photographs of them. themselves and their companions. On the other hand, with groups of artists and study groups in art education, using images in larger formats: both urban and rural landscapes, and textures of objects in different materials. Finding more and more an importance in technical and emotional matters with the image and tracing devices: such as the scale of the image, the forms of interface and light and especially the empathy of people or population groups with certain types of images . Reason why, the choice of it is fundamental according to the group, its interests and work logic.

 

In short, the project is about generating practices of temporality, trade and observation as important axes of creation and artistic education. In addition, as we do it, the project proposes us to re-evaluate ways of teaching and approaching drawing. Well, we see how the process opposes some assumptions of the tracing as a trap and of the good draftsman as one with an ability, which is sometimes considered innate, to copy reality.

 

Photographs