A sketchbook of my daily practice ...
OR TRAVEL DIARY.
A long trip around Latin America:
_Starting, Taking a trip into my memory box. (Caracas) 
_Looking around my bedroom. (Caracas) 
frien _A house, talking about the trip. (Caracas) 
_Mataphoric bridge. (Sartenegas, Universidad Simón Bolívar)
_Italian Consulate. (Caracas)
_kiosko in Merida Market (Merida) 
_International Airport vs. Bogota restaurant. (La Guaira, Venezuela vs. Bogota) 
_Thinking about some objects design in La Guaira Airport. (La Guaira, Venezuela) 
_Bolivia International Airport, still thinking about some design objects... Museo de Bellas Artes... Universidad de Santiago de Chile. (Bolivia - Chile) 
_Drinking and others species. (Santiago de Chile) 
_Orange juice and a good coffe. (Valdivia bread and breakfast)
_Vulcano On Our Way. (Puerto Varas)
_Fresh air in Buenos Aires. (Recoleta - Buenos Aires)
_More fresh air at Cortazar square. (Palermo - Buenos Aires)
UNIVERSIDAD SIMON BOLIVAR
DEPARTMENT OF ARCHITECTURE, DESIGN AND FINE ARTS.
PUBLICATION.
PROF. Rafael Reveron-Pojana
TEST:
A sketchbook of my daily practice ...
OR TRAVEL DIARY.
SUMMARY:
The drawing is one of our primary tools of expression. Some of us know, understand and construct our world through the communicative possibilities of drawing. This essay develops some ideas fundamental that give meaning to this activity: similarities and interpretation, need for visual expression, and so on. We wonder why draw? from the need to document our daily traffic so, for the obvious, by the spaces we inhabit and occupy in our daily life.
PROF. Rafael Reveron-Pojana
TEST:
A sketchbook of my daily practice ...
OR TRAVEL DIARY.
SUMMARY:
The drawing is one of our primary tools of expression. Some of us know, understand and construct our world through the communicative possibilities of drawing. This essay develops some ideas fundamental that give meaning to this activity: similarities and interpretation, need for visual expression, and so on. We wonder why draw? from the need to document our daily traffic so, for the obvious, by the spaces we inhabit and occupy in our daily life.
WHY PATTERNS?
drawing because in principle is the most "natural" to express or change what I imagine a concrete object that asks me to exist outside of me. Make a drawing on a blank sheet of paper is like writing or appoint anyone had imagined. Antonio Martorell well defines it thus: "Drawing is to write without having to describe. Grows well in a dress made to fit the desired object. "(1). It is difficult to pinpoint exactly when we learned this very particular hand that displays the drawing, a coming and going. Without much awareness one day the motion is fluid, pencil or pen is like tearing the white of the paper, the lines overlap each other and a strange handwriting is unfolded and becomes pale forms on the surface. Line after line is constructed an image, at first without effect, then after a couple of stripes completes a "something" and it finds its similarity in our minds and is recognized as Thus, object, space or sense. Through drawing 'painted' a prose that seems to be expressed in universal codes. Let's write a story without having to describe it, there is a timeline that sets out principles and purposes, the image is presented in full reading and comprehension. The picture comes with the force of the synthesis, in essence, the minimum in the understanding of an idea or image. The drawing, in principle, a few lines that lose the continuity that comes with blank sheet of paper, these first few lines outlining the features of the image. Imagination and drawing may find their sense in a strange coincidence that debate between interpretation and similarity.
The images are in my mind, because one is, looking, observing and imagining. My hand "draw" and wage a battle for translating content created by imagination. This "scratch on the paper" translates and interprets these contents to the physical final conviction, the first chance to miss or hit. This network of lines becomes "object" than imagined. This item now lies on the role and no longer belongs to the ephemeral nature of the mind of the 'subject', now the images displayed are assembled and displayed on paper, building a document evidencing a "existence."
The lines on the paper begin to create strange "similarities." In this kind of joint err stunt and hit, this similarity between drawing and imagination, observation and hand movements, tracing paper, black and white, began to find the stamp that makes drawing an activity that has been with us the beginning of our history. The drawing becomes a universal and recurring art at all times.
When asked why picture? I can not make a connection between drawing and calligraphy. Paper, pencil, pen, ink, hand movement, the mind that constructs images, few similarities between the drawing and calligraphy. We said that drawing is like a "write without having to describe" (2). Thus, writing and drawing the two activities considered outstanding in the art of "naming" what the mind imagines and notes, creating a strong link between these two activities. I wonder then: why I prefer drawing to write? Born and begins a long history in the expression of Being, but certainly after the first draw and write, this is, in general, the traffic that most of us experience in the incorporation of the individual to society. Then the writing seems to draw, first hand and the imagination is trained with the design and structure a true system of representation and expression, then, much later we learn to write and read. During our first years of life drawing is one of our first tools of expression. The pattern is characterized by the "creation of images and forms" and manages to create so-called "symbolic abstractions" that are so useful in visual communication systems, as in "signage" and "infographics." The drawings of the children tell their imagination, their joys and sorrows, their daily life and inner world described between the lines, shapes and colors. The drawing is a process is presented in the individual as part of its natural evolution, "is almost an activity that is in our genetics, the very condition of being, the human need to express themselves, to create objects.
The draw is strongly linked to the time we began to know, name and experience the space around us, things, objects. The limit of our sight expands as well as monitoring functions are specialized. First draw "doodles", then these forms are "recognizable", scratch that express motor and mental development of the individual, hand and mind. Abstract forms, human figures, objects and objects how close to the far, the picture undergoes a transformation, a "nonsense" or figurative abstraction to a state with strong anecdotal trends. Draw what the mind explores, we draw as we think, as we imagine. So we ask, Is not draw a way to understand the universe around us, What resemblance between the process of drawing and how we imagine the world?, "Draw what you look, see or imagine could be a process of creating knowledge about what is seen, observed or imagined? The answers to these questions are found in our experience, we have all experienced drawing imagined, observed, draw an idea, an address an outline, and so on. We've all experienced the frustration or satisfaction when we compare our picture with the model. "Trial and error" searching for a similarity between model and drawing strange frustration that stimulates the need to continue this process of creation. Compare against imaginary images, finding similarities and differences, provide different views of the object, do another drawing, then another, another ...
What picture? Draw what you see and what is imagined or both. When you see something and recognize it as a "something" turns the process of observation and became regarded as observed. Is looking images or stimuli through our eyes without them necessarily contain information or related to other images or ideas. To draw is required to achieve a process of observation, because it transforms what is seen in "relationships" in "links", the observed becomes part of the body of my "knowledge." When one looks at the relationships are activated, images, information, every part of the seen comes to terms with all the visual memory, we begin to know and recognize the world around us. With the observation we enter a system in a web of complex relationships, carry or endow "the seen" a series of codes, symbols and meanings. Draw the observed is to make conscious these intricate relationships of the visual world, so we might think that drawing is also creating and developing knowledge.
When drawn is equal to the imagined. "The one" resembles "other" and this similarity gives an extraordinary picture based on "likeness." Perhaps this is one way to catch or capture the contents that are hidden in the scale than imagined. The similarity is a value in our culture, has been a way of trying to understand and categorize the world around us, this value is strong in the classical age Foucault in The Order of Things "in chapter two:" The Prose of the World ", speaks of the strength of the likeness," Until the late sixteenth century, the similarity has played a constructive role in the knowledge of culture Western. Much of it was she who guided exegesis and interpretation of the texts that organized the play of symbols, allowed the knowledge of things visible and invisible, turned the art of representing them. The world rolled on itself: the earth repeat the sky, their faces reflected in the stars and the grass hiding in their stems the secrets that served the man. Imitated painting space. And the representation ¬ "either party or know-it was as repetition: the theater of life or mirror the world." (3) Here we find a logic of similarities in the act of drawing. The similarity seemed to give the picture of that aura of magic, "the one" is similar and is reflected in "other", either "as an" imagination or reality, every little sign in the picture leads to an existence and distance between them, create their own system that enhances the drawing.
A drawing is always an interpretation that is found in visible terms. Thus, the design also becomes a reflection of its image or creator, of the time history. The drawing is an extension of the inner universe of the artist. In the interpretation imperfections are present "to be creative and time, the spirit, the joys and pains of it, every detail here reveals to us the values \u200b\u200bof a culture, the operator as in other fine arts becomes witness, so the drawing is a universal document. Perhaps
drawing debate between these two strains "likeness" on one end and the other "interpretation." The similarity captive and on the drawing to reality, giving existence to the genesis of this strange need to build documents, objects. The similarity links the picture with the thing, territory, geography, idea or image. On the contrary interpretation binding on the drawing with its creator, with the individual, intimate, hand staining the blade with the ink that trembles and subtly describes the inner universe and of being psychic wielding the pen or graphite . Interpretation is key issue in the drawing, it is characterized by making a visual summary. Similarity and interpretation are two of the cornerstones of the drawing, the tension between these two variables constructed this dialogue between internal and external, provides the picture of a poetic force, shows the thing without naming it, speaks without listen We "write without having to describe" (4), drawing between "likeness" and "interpretation" is a key document in the expression of Being
DRAWING WHAT? Drawing
to define my space, to inhabit, to occupy it. "So, some history of my taste (its permanence, its evolution, its stages) will be recorded in this project. More precisely, it will be once again a way of defining my space, in a somewhat oblique approach to my daily practice, a way to talk about my work, my history, my concerns, an effort to grab something that belongs to my experience not at the level of their distant reflection, but in the heart of your emergency. "(5) Thus, Georges Perec presents a way to develop a" sociology "of everyday life in this essay entitled" Notes Concerning the Objects That Are on my Work-table "the story is narrated by exposing the ways and forms in which we are building and occupying our space through things and objects. Perec uses the name the objects to develop his literary experiment, building and occupying the space from the territory of the words, structuring a dilemma: how to build this space daily? and how do deal from the heart of the obvious? My work appropriates this structure to generate a range of issues, a repertoire of "excuses" for drawing. My drawing is simple, try to assemble this kind of "sociology" everyday, naming the world around us from drawing calligraphy. My experiment draws the space I inhabit, drawing objects and forms that speak of my existence. Work on the narrative of "obvious." I take the synthesis of the drawing to make my everyday forms are expressed from "the heart of its emergence" (6).
My experiment wants to take the drawing and Ser expression system to discern the "Sociology of Everyday Life, wants to respond, as Perec, first: How do we inhabit the space, objects and things that tell how we live, to occupy, if any?, second space and how objects are structured? finally how these questions are expressed through metaphors of drawing, how this medium could tell, and appropriate representation of my traffic for the day to day? I draw "obvious" that is how the spaces, objects and things overlapping each other in building my space and time.
THE EXPERIMENT ... OR CHRONIC VISUAL DIARY OF A TRIP.
In 2003, one of my trips to the city Bogota in Colombia, visited the National Museum of History, where I found in an exhibition, an album of pictures that captured me by coincidence on a daily basis I was doing on this trip. This book tells drawings and documents "The Liberal Campaign" during the war of a thousand days in Colombia during 1900. The author, a "patriot artist" named by his fellow campaign "The Pilgrim Rivera" and name: Rivera Arce (7). In this "Diary of Battle" is seen images of people, situations, objects, landscapes and events that are witness to what happened in that war, we see as "the Pilgrim Rivera draws with great skill and sensitivity the faces of the Patriots, their clothing, some pictures of battles and a very wide range of different situations that embody that army during the thousand days of battle.
meet this "daily battle" was a revelation, I was working on the completion of drawings to document my journey through the city of Bogota and here was a notebook full of drawings done in pencil, creating a subtle and beautiful, a document, giving existence to a time, a space and some facts, but for this album, we would not know today. The Pilgrim Rivera putting notes and draw attention to the "obvious and the ordinary" in this time of battle. In these drawings we find no intention to document situations "important or transcendent," is a collection of drawings mostly everyday. The draw with the attitude of those who go for a walk, walk around without direction, without any preset idea. No targets or goals, draw what you see in their spare time. This is where my drawings are in the reflection of everyday life in the pictures taken Pilgrim Rivera Arce. My time to draw on this trip are my moments of rest and draw what I can see from my break. On this trip and the meeting with the drawings of "Pilgrim Rivera" the idea of \u200b\u200bmaking a further experiment, mixed Perec's texts with the war of a thousand days, there is a merger between a "sociology of everyday life" with a patriotic artist changing his gun for a notebook and pencil drawings . My own journey begins by re-notice the "obvious" and "everyday" as a credible expression of the ways we are building and occupying our cities.
My pictures show our spaces and objects. These are documents that speak of life and activity that occurs there, where I stop for a moment to observe and draw. There is no way predetermined. They are a collection of drawings and images without framing, are a kind of images from a camera that shoots for no reason, with no intention of doing a "good" photography. The lines and shapes are named transit space, the eye watches from the movement, unfolding an uprising that sometimes tends to be fully descriptive. Drawing
what's next, what I see there, near me, which is close to my hand, my travelogue. Drawing spaces and objects that live in my vicinity, my room, what I find in the drawer of my nightstand, my home, I look from my balcony, my desk, the cubicle where I spend long hours day working at the university, corridors, the central university library, what I see on walks through the gardens, reading rooms, book loans rooms, staircases, shelves, books, records, files, rest areas, libraries, things that people perched on tables in the meetings, a bathroom, things that are inside a garbage can, my books, lunch, a window, the seats of a plane, waiting at an airport, a journey a picture and then another, then another and another ... Neruda's house in Valparaiso and Isla Negra, a cafe, a street, a building, a table with a cup of coffee without coffee, a water fountain without water, a bridge, waiting, a Brazil neighborhood bar in Santiago de Chile, another street, another building, a wall, a wall, a place in Bariloche Argentina, one breakfast, one lunch, a drawing, another drawing, another paper on the subway in Buenos Aires, another Cortaza waiting in the square, another drawing, another trip, a bust of Bolivar in a remote village in western Venezuela called boilers, one expects in a restaurant, Mérida's central market, a dinner, a conference, drawing a conversation ... after another, they will put together the travel, movement, time, space, interweaving the ways in which we live and live, our spaces, objects and things of our time.
I conclude this essay naming tangentially a central theme in the picture, one that is related to the needs and energy leads to the artist to spend long hours at work, this refers to a depth, the sense. To close I want to paraphrase idea that touches the center engine, I want to deform the idea of \u200b\u200bJuan José Gómez Molina in his book "Drawing Names" where he says: "Naming is the essential action which we began our string of attempts to have the things, but above all, is the most radical to calm our anxiety about the unknown. "(8) Here, I am allowed to change" name "for drawing and so finally say:" Drawing is the essential action with which we began our string of attempts to possess things, but above all, drawing is the most radical to calm our anxiety about the unknown. "Calmar
drawing, own drawing, live drawing, learn drawing, sketching catch, occupy drawing, life drawing. Write my traffic without having to describe it, just drawing.
::: Rafael Reveron-Pojana / UNIVERSIDAD SIMON BOLIVAR::: JUNE - 2006.
drawing because in principle is the most "natural" to express or change what I imagine a concrete object that asks me to exist outside of me. Make a drawing on a blank sheet of paper is like writing or appoint anyone had imagined. Antonio Martorell well defines it thus: "Drawing is to write without having to describe. Grows well in a dress made to fit the desired object. "(1). It is difficult to pinpoint exactly when we learned this very particular hand that displays the drawing, a coming and going. Without much awareness one day the motion is fluid, pencil or pen is like tearing the white of the paper, the lines overlap each other and a strange handwriting is unfolded and becomes pale forms on the surface. Line after line is constructed an image, at first without effect, then after a couple of stripes completes a "something" and it finds its similarity in our minds and is recognized as Thus, object, space or sense. Through drawing 'painted' a prose that seems to be expressed in universal codes. Let's write a story without having to describe it, there is a timeline that sets out principles and purposes, the image is presented in full reading and comprehension. The picture comes with the force of the synthesis, in essence, the minimum in the understanding of an idea or image. The drawing, in principle, a few lines that lose the continuity that comes with blank sheet of paper, these first few lines outlining the features of the image. Imagination and drawing may find their sense in a strange coincidence that debate between interpretation and similarity.
The images are in my mind, because one is, looking, observing and imagining. My hand "draw" and wage a battle for translating content created by imagination. This "scratch on the paper" translates and interprets these contents to the physical final conviction, the first chance to miss or hit. This network of lines becomes "object" than imagined. This item now lies on the role and no longer belongs to the ephemeral nature of the mind of the 'subject', now the images displayed are assembled and displayed on paper, building a document evidencing a "existence."
The lines on the paper begin to create strange "similarities." In this kind of joint err stunt and hit, this similarity between drawing and imagination, observation and hand movements, tracing paper, black and white, began to find the stamp that makes drawing an activity that has been with us the beginning of our history. The drawing becomes a universal and recurring art at all times.
When asked why picture? I can not make a connection between drawing and calligraphy. Paper, pencil, pen, ink, hand movement, the mind that constructs images, few similarities between the drawing and calligraphy. We said that drawing is like a "write without having to describe" (2). Thus, writing and drawing the two activities considered outstanding in the art of "naming" what the mind imagines and notes, creating a strong link between these two activities. I wonder then: why I prefer drawing to write? Born and begins a long history in the expression of Being, but certainly after the first draw and write, this is, in general, the traffic that most of us experience in the incorporation of the individual to society. Then the writing seems to draw, first hand and the imagination is trained with the design and structure a true system of representation and expression, then, much later we learn to write and read. During our first years of life drawing is one of our first tools of expression. The pattern is characterized by the "creation of images and forms" and manages to create so-called "symbolic abstractions" that are so useful in visual communication systems, as in "signage" and "infographics." The drawings of the children tell their imagination, their joys and sorrows, their daily life and inner world described between the lines, shapes and colors. The drawing is a process is presented in the individual as part of its natural evolution, "is almost an activity that is in our genetics, the very condition of being, the human need to express themselves, to create objects.
The draw is strongly linked to the time we began to know, name and experience the space around us, things, objects. The limit of our sight expands as well as monitoring functions are specialized. First draw "doodles", then these forms are "recognizable", scratch that express motor and mental development of the individual, hand and mind. Abstract forms, human figures, objects and objects how close to the far, the picture undergoes a transformation, a "nonsense" or figurative abstraction to a state with strong anecdotal trends. Draw what the mind explores, we draw as we think, as we imagine. So we ask, Is not draw a way to understand the universe around us, What resemblance between the process of drawing and how we imagine the world?, "Draw what you look, see or imagine could be a process of creating knowledge about what is seen, observed or imagined? The answers to these questions are found in our experience, we have all experienced drawing imagined, observed, draw an idea, an address an outline, and so on. We've all experienced the frustration or satisfaction when we compare our picture with the model. "Trial and error" searching for a similarity between model and drawing strange frustration that stimulates the need to continue this process of creation. Compare against imaginary images, finding similarities and differences, provide different views of the object, do another drawing, then another, another ...
What picture? Draw what you see and what is imagined or both. When you see something and recognize it as a "something" turns the process of observation and became regarded as observed. Is looking images or stimuli through our eyes without them necessarily contain information or related to other images or ideas. To draw is required to achieve a process of observation, because it transforms what is seen in "relationships" in "links", the observed becomes part of the body of my "knowledge." When one looks at the relationships are activated, images, information, every part of the seen comes to terms with all the visual memory, we begin to know and recognize the world around us. With the observation we enter a system in a web of complex relationships, carry or endow "the seen" a series of codes, symbols and meanings. Draw the observed is to make conscious these intricate relationships of the visual world, so we might think that drawing is also creating and developing knowledge.
When drawn is equal to the imagined. "The one" resembles "other" and this similarity gives an extraordinary picture based on "likeness." Perhaps this is one way to catch or capture the contents that are hidden in the scale than imagined. The similarity is a value in our culture, has been a way of trying to understand and categorize the world around us, this value is strong in the classical age Foucault in The Order of Things "in chapter two:" The Prose of the World ", speaks of the strength of the likeness," Until the late sixteenth century, the similarity has played a constructive role in the knowledge of culture Western. Much of it was she who guided exegesis and interpretation of the texts that organized the play of symbols, allowed the knowledge of things visible and invisible, turned the art of representing them. The world rolled on itself: the earth repeat the sky, their faces reflected in the stars and the grass hiding in their stems the secrets that served the man. Imitated painting space. And the representation ¬ "either party or know-it was as repetition: the theater of life or mirror the world." (3) Here we find a logic of similarities in the act of drawing. The similarity seemed to give the picture of that aura of magic, "the one" is similar and is reflected in "other", either "as an" imagination or reality, every little sign in the picture leads to an existence and distance between them, create their own system that enhances the drawing.
A drawing is always an interpretation that is found in visible terms. Thus, the design also becomes a reflection of its image or creator, of the time history. The drawing is an extension of the inner universe of the artist. In the interpretation imperfections are present "to be creative and time, the spirit, the joys and pains of it, every detail here reveals to us the values \u200b\u200bof a culture, the operator as in other fine arts becomes witness, so the drawing is a universal document. Perhaps
drawing debate between these two strains "likeness" on one end and the other "interpretation." The similarity captive and on the drawing to reality, giving existence to the genesis of this strange need to build documents, objects. The similarity links the picture with the thing, territory, geography, idea or image. On the contrary interpretation binding on the drawing with its creator, with the individual, intimate, hand staining the blade with the ink that trembles and subtly describes the inner universe and of being psychic wielding the pen or graphite . Interpretation is key issue in the drawing, it is characterized by making a visual summary. Similarity and interpretation are two of the cornerstones of the drawing, the tension between these two variables constructed this dialogue between internal and external, provides the picture of a poetic force, shows the thing without naming it, speaks without listen We "write without having to describe" (4), drawing between "likeness" and "interpretation" is a key document in the expression of Being
DRAWING WHAT? Drawing
to define my space, to inhabit, to occupy it. "So, some history of my taste (its permanence, its evolution, its stages) will be recorded in this project. More precisely, it will be once again a way of defining my space, in a somewhat oblique approach to my daily practice, a way to talk about my work, my history, my concerns, an effort to grab something that belongs to my experience not at the level of their distant reflection, but in the heart of your emergency. "(5) Thus, Georges Perec presents a way to develop a" sociology "of everyday life in this essay entitled" Notes Concerning the Objects That Are on my Work-table "the story is narrated by exposing the ways and forms in which we are building and occupying our space through things and objects. Perec uses the name the objects to develop his literary experiment, building and occupying the space from the territory of the words, structuring a dilemma: how to build this space daily? and how do deal from the heart of the obvious? My work appropriates this structure to generate a range of issues, a repertoire of "excuses" for drawing. My drawing is simple, try to assemble this kind of "sociology" everyday, naming the world around us from drawing calligraphy. My experiment draws the space I inhabit, drawing objects and forms that speak of my existence. Work on the narrative of "obvious." I take the synthesis of the drawing to make my everyday forms are expressed from "the heart of its emergence" (6).
My experiment wants to take the drawing and Ser expression system to discern the "Sociology of Everyday Life, wants to respond, as Perec, first: How do we inhabit the space, objects and things that tell how we live, to occupy, if any?, second space and how objects are structured? finally how these questions are expressed through metaphors of drawing, how this medium could tell, and appropriate representation of my traffic for the day to day? I draw "obvious" that is how the spaces, objects and things overlapping each other in building my space and time.
THE EXPERIMENT ... OR CHRONIC VISUAL DIARY OF A TRIP.
In 2003, one of my trips to the city Bogota in Colombia, visited the National Museum of History, where I found in an exhibition, an album of pictures that captured me by coincidence on a daily basis I was doing on this trip. This book tells drawings and documents "The Liberal Campaign" during the war of a thousand days in Colombia during 1900. The author, a "patriot artist" named by his fellow campaign "The Pilgrim Rivera" and name: Rivera Arce (7). In this "Diary of Battle" is seen images of people, situations, objects, landscapes and events that are witness to what happened in that war, we see as "the Pilgrim Rivera draws with great skill and sensitivity the faces of the Patriots, their clothing, some pictures of battles and a very wide range of different situations that embody that army during the thousand days of battle.
meet this "daily battle" was a revelation, I was working on the completion of drawings to document my journey through the city of Bogota and here was a notebook full of drawings done in pencil, creating a subtle and beautiful, a document, giving existence to a time, a space and some facts, but for this album, we would not know today. The Pilgrim Rivera putting notes and draw attention to the "obvious and the ordinary" in this time of battle. In these drawings we find no intention to document situations "important or transcendent," is a collection of drawings mostly everyday. The draw with the attitude of those who go for a walk, walk around without direction, without any preset idea. No targets or goals, draw what you see in their spare time. This is where my drawings are in the reflection of everyday life in the pictures taken Pilgrim Rivera Arce. My time to draw on this trip are my moments of rest and draw what I can see from my break. On this trip and the meeting with the drawings of "Pilgrim Rivera" the idea of \u200b\u200bmaking a further experiment, mixed Perec's texts with the war of a thousand days, there is a merger between a "sociology of everyday life" with a patriotic artist changing his gun for a notebook and pencil drawings . My own journey begins by re-notice the "obvious" and "everyday" as a credible expression of the ways we are building and occupying our cities.
My pictures show our spaces and objects. These are documents that speak of life and activity that occurs there, where I stop for a moment to observe and draw. There is no way predetermined. They are a collection of drawings and images without framing, are a kind of images from a camera that shoots for no reason, with no intention of doing a "good" photography. The lines and shapes are named transit space, the eye watches from the movement, unfolding an uprising that sometimes tends to be fully descriptive. Drawing
what's next, what I see there, near me, which is close to my hand, my travelogue. Drawing spaces and objects that live in my vicinity, my room, what I find in the drawer of my nightstand, my home, I look from my balcony, my desk, the cubicle where I spend long hours day working at the university, corridors, the central university library, what I see on walks through the gardens, reading rooms, book loans rooms, staircases, shelves, books, records, files, rest areas, libraries, things that people perched on tables in the meetings, a bathroom, things that are inside a garbage can, my books, lunch, a window, the seats of a plane, waiting at an airport, a journey a picture and then another, then another and another ... Neruda's house in Valparaiso and Isla Negra, a cafe, a street, a building, a table with a cup of coffee without coffee, a water fountain without water, a bridge, waiting, a Brazil neighborhood bar in Santiago de Chile, another street, another building, a wall, a wall, a place in Bariloche Argentina, one breakfast, one lunch, a drawing, another drawing, another paper on the subway in Buenos Aires, another Cortaza waiting in the square, another drawing, another trip, a bust of Bolivar in a remote village in western Venezuela called boilers, one expects in a restaurant, Mérida's central market, a dinner, a conference, drawing a conversation ... after another, they will put together the travel, movement, time, space, interweaving the ways in which we live and live, our spaces, objects and things of our time.
I conclude this essay naming tangentially a central theme in the picture, one that is related to the needs and energy leads to the artist to spend long hours at work, this refers to a depth, the sense. To close I want to paraphrase idea that touches the center engine, I want to deform the idea of \u200b\u200bJuan José Gómez Molina in his book "Drawing Names" where he says: "Naming is the essential action which we began our string of attempts to have the things, but above all, is the most radical to calm our anxiety about the unknown. "(8) Here, I am allowed to change" name "for drawing and so finally say:" Drawing is the essential action with which we began our string of attempts to possess things, but above all, drawing is the most radical to calm our anxiety about the unknown. "Calmar
drawing, own drawing, live drawing, learn drawing, sketching catch, occupy drawing, life drawing. Write my traffic without having to describe it, just drawing.
::: Rafael Reveron-Pojana / UNIVERSIDAD SIMON BOLIVAR::: JUNE - 2006.
1_ Antonio Martorell. "The Drawn Book, Drawing Book." 1995. Editions. Wingspan, Cayey - New York. Puerto Rico.
2_Ibid. 3_Foucualt
Michel, "Les mots et les choes, joins archéologie des sciences humaines, Gallimard edition, 1966. Paris, France, p. 26. 4_Martorell
Antonio, "The Book Drawn, free drawing," Ediciones. Span, 1995. Cayey - New York Puerto Rico. 5_Perec
Georges. "Species of Space and Other Pieces" Penguin Books, 1997 (orgi. 1974), England, p. 147.
6_Ibid. p. 147. 7_González
Beatriz. "Artist in Wartime: Pilgrim Rivera Arce, Memories Campaign" Museo Nacional de Colombia, Arco Publishing, 2002, Bogota, Colombia. Album that includes the graphic evidence of the harshness of "the war of a thousand days "1900. Juan José Molina 8_Gómez
. "Drawing Names" Ediciones Cátedra, Spain 2005, p. 21.
BIBLIOGRAPHY:
or David Bellos, Georges Perec, A Life in Words. " Harvill, 1993, Great Britain.
or Juroszek Ching with Steven Francis. "Drawing and Project Editorial Gustavo Gili. 1999, Barcelona - Spain.
or Foucualt Michel, "Les mots et les choes, joins archéologie des sciences humaines." Edition Gallimard, 1966. Paris, France.
or Juan José Gómez Molina. "Drawing Names" Ediciones Cátedra, Spain 2005.
or Juan José Gómez Molina. "The Manual of Drawing" Ediciones Cátedra, Spain 2001.
or Beatriz González. "Artist in Wartime: Pilgrim Rivera Arce, Memories Campaign" Museo Nacional de Colombia, Arco Publishing, 2002, Bogota, Colombia.
and Antonio Martorell, "The Drawn Book, Drawing Book." Wingspan Publishing, 1995. Cayey - New York Puerto Rico.
or Auguste Morisot. "A painter in the Orinoco 1886 - 1887." Editorial Planeta, 2002 Colombia.
or Georges Perec. "Species of Space and Other Pieces." Penguin Books, 1997 (orgi. 1974), England.
or Georges Perec. "Think Filed." Editorial Gedisa, SA 2001 (orgi. 1985), Barcelona - Spain.
the C. Ware "Jimmy Corrigan, The Smartest Kid on Herat Planet DeAgostini, Spain 2000.
2_Ibid. 3_Foucualt
Michel, "Les mots et les choes, joins archéologie des sciences humaines, Gallimard edition, 1966. Paris, France, p. 26. 4_Martorell
Antonio, "The Book Drawn, free drawing," Ediciones. Span, 1995. Cayey - New York Puerto Rico. 5_Perec
Georges. "Species of Space and Other Pieces" Penguin Books, 1997 (orgi. 1974), England, p. 147.
6_Ibid. p. 147. 7_González
Beatriz. "Artist in Wartime: Pilgrim Rivera Arce, Memories Campaign" Museo Nacional de Colombia, Arco Publishing, 2002, Bogota, Colombia. Album that includes the graphic evidence of the harshness of "the war of a thousand days "1900. Juan José Molina 8_Gómez
. "Drawing Names" Ediciones Cátedra, Spain 2005, p. 21.
BIBLIOGRAPHY:
or David Bellos, Georges Perec, A Life in Words. " Harvill, 1993, Great Britain.
or Juroszek Ching with Steven Francis. "Drawing and Project Editorial Gustavo Gili. 1999, Barcelona - Spain.
or Foucualt Michel, "Les mots et les choes, joins archéologie des sciences humaines." Edition Gallimard, 1966. Paris, France.
or Juan José Gómez Molina. "Drawing Names" Ediciones Cátedra, Spain 2005.
or Juan José Gómez Molina. "The Manual of Drawing" Ediciones Cátedra, Spain 2001.
or Beatriz González. "Artist in Wartime: Pilgrim Rivera Arce, Memories Campaign" Museo Nacional de Colombia, Arco Publishing, 2002, Bogota, Colombia.
and Antonio Martorell, "The Drawn Book, Drawing Book." Wingspan Publishing, 1995. Cayey - New York Puerto Rico.
or Auguste Morisot. "A painter in the Orinoco 1886 - 1887." Editorial Planeta, 2002 Colombia.
or Georges Perec. "Species of Space and Other Pieces." Penguin Books, 1997 (orgi. 1974), England.
or Georges Perec. "Think Filed." Editorial Gedisa, SA 2001 (orgi. 1985), Barcelona - Spain.
the C. Ware "Jimmy Corrigan, The Smartest Kid on Herat Planet DeAgostini, Spain 2000.
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