Zara Saganic
Exploring control through drawing time.
The thematic core of my practice is control, time and the relentless pursuit of perfection (Kodawari); Time is measured through activity and manifests through process and numerical data collection. Control explores a discourse with links to repeated acts in a Sisyphean pursuit of perfection. This initially stemmed from an interest in acts of contrition linking to absurdism and ‘the Myth of Sisyphus’, leading to work with repetitive actions, performance and drawing that has evolved from drawing as process to drawing becoming the resolution; a visual language to articulate time and control. A desire to control and attain perfection in order to achieve a purity of drawing (or exploring this pursuit) and therefore of self. An attempt to atone for errors, misjudgements in order to control impulses and achieve discipline and quiet. It is not meditative as the voices are still loud when the mouth is silent, voices are a visual language with links to Asemic language via a visual communication from a place of isolation. It is a solitary activity, yet readable by others who bring their own language of experience to their viewing of the work. Interpretations are varied and permissible as one learns to see. Definitions of drawing is something that both challenges and excites me and I am minded of Joseph Kosuth’s ‘One and Two Chairs’, the work of Martin Creed ‘Half a Room Full of air’ and enquires of exchange value linking to Piero Manzoni’s ‘Artist’s Shit’ (1961). As I explore ideas, value and place of drawing. Over the last few years, I have built a body of work that explores drawing that utilises remnants of previous activities. These remnants are the negative space initially achieved through intricate hand cut paper pieces; the primary work was discarded in favour of the forms created from the cut out negative space. This now means that investigations and activities become endless acts (as every activity creates a new form) and this makes further Absurdist links to Sisyphus and endless tasks. This has led to investigations into the very nature of drawing as language, purpose and intent, rather than drawing as a precursor. Techniques and processes are multidisciplinary and have included, ink, sculpture, line, mark, data, performance, print and most recently colour, all within the remit of drawing, as the means of drawing are constantly being refined and redefined. Precision and detail feature strongly, along with exploring negative and positive spaces with equal attention. Analogue and digital technology are utilised to create work with potentially infinite iterate processes. I wish to explore the intent, language and methodologies of drawing further and wish to contribute to a critical debate. I have previously been a panellist on a Symposium with ‘Drawing Projects UK’ to discuss my 9-meter drawing exhibited at Wells cathedral. I have exhibited both nationally, internationally, recently as a finalist at Wells Art Contemporary and at Bournemouth Emerging Arts Fringe (BEAF) and selection for Spudworks ‘open’. I have also led art in a small secondary school in Dorset and am now working full time on my practice as I emerge from teaching in mainstream education to develop my practice. I studied at Wimbledon College of Art (2008) with an MA in Fine Art and from AUB with a BA in Fine Art in 2004 and hold QTS.
- Phone: 07875568638
- Email: [email protected]
- Website: zarasaganic.com