My work is site-specific, based on the (re)creation of my studio site using 3D architectural animation software. In the resulting digital diagrams, this site is created through the generation of the architecture and infrastructure details (pipes, wiring etc.), so that the walls are absent but implicit. The elements of the site are generated by manipulation of 'default solids' (i.e. cubes and cylinders, as offered in the program menu). The step-by-step virtual realisation of this site is presented as a book that is made from several transparent digital prints. In opposition to the animation series, the transparencies encourage a non-linear reading (backwards/forwards, having several endings and beginnings) in real time. In fact, this reflects the inconsistency of virtual creation, where even the fundamental 'actions' of the program - such as 'to reposition' (to relocate) - are not simple. The function of these actions depends on the complex links among the various (hardware and software) components of the computer. In fact, the software operates through metaphors of reality and therefore no virtual product can be related to our corporeal experiences. All program 'actions' depend on the non-gestural 'syntax' of the software. Material relations and eye-mind-hand unity of coordination do not apply here. Contrary to the marks (residues/traces) of material creation, the computer processes are based on immaterial, non-causal (non-linear, reversible, non-deteriorating) patterns of information processing. There is no real 'production' but only (re)interpretation of reality.
The primary form of drawing is tracing. Contrary to the kind of drawing which is descriptive (re-presents/illustrates something other than itself) primary drawing signifies minimum detachment between the drawing and its referent. Paradoxically, (in my work) computer diagrams tend to be closer to 'drawing-as-tracing'. They do not operate as images (illusionistic, static and singular) but as a contingent activity of interpretation between the abstract space of a 'wireframe' (the computer 'sketch' prior to a 'rendered' diagram, where the grids of the default solids are still obvious) and the specificity of its 'rendered scene' (final stage of the computer diagram's generation, where texture is added: the referent - site/place - is now recognisable). Effective ways of exploring this dynamic condition include intersections between virtual diagramming and the site itself. For example, the implications of a 'default action' such as 'snap to grid' can be investigated when the virtual diagram is superimposed onto the real site that generated the diagram, in the form of a wall/floor drawing. Furthermore, intersections between virtual and real creation can be explored through web-casted interdisciplinary projects (using broadband connections). On the occasion of the Interactive Studio Launch at Wimbledon School of Art, my Collaborative Drawing project has been based on the program 'actions' used to generate the space of this web-casting. The participants create drawings 'in response' to this description (these include performances and mark making in a site), interacting with the abstract language of the computer, the inconsistencies of information transmission and interpretation.
Eugenia Fratzeskou is currently an MA Drawing student at Wimbledon School of Art (WSA), funded by the AHRB. She was the leader of the interdisciplinary Drawing + Digital Technology workshop (part of the annual Association of Independent Art Schools International Symposium, November 2001) and co-editor of the end-of-forum EYECON publication (supported by WSA Print department, co-editors: Dr N.Barfield and A.Walker). As part of her drawing research through broadband, she initiated the Collaborative Drawing project with Le Fresnoy School of Contemporary Art and Ryerson Polytechnic University (MARCEL launch events at WSA, April 2002) and she participates in the HalfProducts exchange project with Rietveld Academie, Amsterdam. Forthcoming plans include the establishment of interactive drawing research at WSA, as part of her PhD. Contact: firstname.lastname@example.org