Gijs Assmann | Marlies Appel | David Bade | Merina Beekman | Simon Benson | Dineke Blom | Marcel van Eeden | Otto Egberts | Helen Frik | Rosemin Hendriks | Tjibbe Hooghiemstra | Nour-Eddine Jarram | Natasja Kensmil | Juul Kraijer | Ronald Noorman | Erik Odijk | Roland Sohier | Elly Strik | Dieuwke Spaans | Juliette Tulkens | Piet Tuytel | Hans de Wit

Arno Kramer

about drawing  1|2|3|4   In addition, the drawing, more than other disciplines, especially offers the possibility to record impulsive thoughts, unconscious ideas, quickly. The “see ability” that many artists have developed through drawing, is a quality that can be created because the artist easily takes risks and discovers new and unexpected expressive possibilities. Each artist, in whatever isolation he works, also always has a communicative relationship with the “outside world” through what he makes. That communication is in fact an extremely private one. During a conversation, while reading a book or watching a work of art, the spectator at that moment is briefly equal to the maker. This equality is the equality of the consciousness, the poet Joseph Brodsky wrote. Vaguely or clearly, it stays in a person’s memory for the rest of his or her life and sooner or later, at the right or at the wrong time, it determines the individual’s behaviour. Thus, that communication is ultimately as the product of a mutual loneliness of the spectator and the maker. If we continue the comparison with literature for a little while longer, the line is to the artist what the words are to the poet. The “language” of the image grows with the progress in a drawing. Usually the line is also a syntactical or binding element, that is to say that it carries the drawing. The work further develops itself around the basis of a line drawing. Usually the line is a recurring support. Additions of stains, structures, screens and colours finally determine the tone and the style. Drawing is acting, moving, searching on paper, using technique and forgetting technique. Drawing is always very close to the pure moment of perception, the Irish poet Seamus Heaney wrote. Many artists act fairly naturally. That naturalness of action, the movement and locomotion may form important aspects of the ultimate character of a drawing. Sometimes there is a sensitive, restless search. When the artist does not see the drawing as something that >