Marine
Bikard

I first worked as a sociologist before dedicating to my art research. My work travels from drawing to movement practices, both solo or collective, to explore drawing as a perceptive moment: a moment where the whole body is engaged to actualize the connections and resonances with the animate and inanimate world around. I will graduate from Paris School of Fine art in July 2020 (E. Huynh and P.M Tayou’s studios).

Contributions

I would like to share a drawing practice, playing with the idea of knowing and not knowing.

I first choose an object I feel like drawing and make four drawings of it:

  1. First drawing, I start by writing: “I know how to draw, and the thing (I name it) in front of me knows how to be the thing in front of me” and draw it according (that I know how to draw a thing that knows how to be itself)
  2. Second drawing “I know how to draw, and the thing in front of me doesn’t know how to be the thing in front of me”
  3. Third drawing “I don’t know how to draw, and the thing in front of me knows how to the thing in front of me”
  4. Fourth drawing “I don’t know how to draw, and the thing in front of me doesn’t know how to be the thing in front of me”
Marine Bikard – Offering

Doing so, I observe how these different starting points change the movement of my attention, the distribution of my weight in my hand in contact with paper, the variation of my imagination… I observe what I put behind the idea of “knowing” and allow myself to transgress those implicit rules in the “not knowing” moments. I explore different moments of relating to the thing in the act of drawing.

Repeating this practice, my imagination of knowing and not knowing changes, some aspects of the not knowing experience enter the idea I have about knowing.

Doubling the activity of drawing with an activity of observation and learning, I find it easier to let go my desires and movements as I draw, and thus to give some space to the unconscious, involuntary part of the experience of drawing.

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