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Drawing Generator | |
| What happens when I hand over an order form? | |
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First and foremost, I have to expect from experience that feedback from drawing orders is relatively small and that joy about the idea is relatively large. When I personally distribute order forms, I receive many spontaneous first ideas for a made-to -order drawing. My advice that I would prefer a written description, usually subdues the enthusiasm a bit and leads to the promise that something will - in any case - be sent to me.
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I. When someone then places an order in writing, he can: |
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| a) | describe a drawing for me personally, or for my ‘"style’, because he interprets the form "correctly" (which isn’t very easy), or because after receiving the form (or when receiving the form) has spoken to me, or because he knows me and my work. |
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| b) | take the thing so seriously, that he describes a non-existing drawing, which is important to him or appears necessary, in such a way, that I have a real chance of making it. |
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| c) | formulates an order (also from knowledge of my work) in such a way that it can hardly or not be completed at all by me. Case c) can happen under the following conditions: someone would like to be especially original, someone wants to challenge me, or is himself an artist and much imprisoned within his own world of images. |
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| d) | sends me a text which neither describes the appearance and/or content of a drawing. |
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| e) | sends me a graphic description (sketch, diagram, photo). |
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| I am happy to receive all texts, though must admit that variation b) is my favorite. |
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| II. When I receive an order, the following possibilities are open: | |
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| a) | I keep as rigidly as possible to the description (congruent). |
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| b) | I keep to - with the conscious implementation of the visual language I have developed and worked on - as near as possible to the description. |
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| c) | I deviate more or less from the description (discrepancy). |
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| d) | I draw something, which does not accord with the description, but touches on its subject matter. |
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| e) | there is no drawing - either I don’t even begin to translate the description into drawing at all - or I declare the attempt futile. |
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| All possibilities can occur, but sought after is case b): confrontation of one’s own picture world with the others’. The necessity of the new and further development of "performers", examining the same in different drawings and contexts. |
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| III. Communication of results: | |
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| At least the best non-failed drawing for a description is shown: |
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| a) | Each client is sent a color copy of the drawing. (Color copies are mostly the end result of my drawing - the original is never shown.) A drawing for a person, previously wished for by himself. The possibility is great, to enter into conversation with the client about his made-to-order drawing. This is an opportunity to clear away any misunderstandings about the translation, to precisely complete the order if necessary and then to make a new drawing. Should the situation arise, this process can be repeated as wished. All this costs the client nothing (except for postage when sending me the order). I cover the cost of copying and final mailing. No sales are in the offing.....the drawing is for the client but not for free: he has to deliver the description.. |
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| b) | The client has to reckon with the fact that this anonymous order and a further color copy of the finished drawing will be made accessible to other people along with other made-to-order drawings as well as their realization. When the drawings and corresponding order forms are shown publicly - whether in book form or in an exhibition - the viewer gets an insight into my realization of the orders. Again: all texts for orders will only be shown anonymously and any personal information in the texts e.g. name or address etc. will also be anonymous. |
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| IV. What actually happens? | |
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| I leave to others the nature of my drawings’ first moments. They don’t touch them, rather manage with words to express the prerequisites for my work: |
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| a) | the describer is the client. |
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| b) | the describer is interpreter of the situation of the draughtsman. |
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| c) | the describer is the challenger, friend and opponent of the draughtsman and the drawing. |
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| A) | the drawing generator is commissioned and is commissioner (a very nice thing...). |
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| B) | the drawing generator is interpreter of the client and his description, the realizer of a/his fiction. |
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| C) | the drawing generator is his own client - through a person who has formulated a descriptive text as a medium. |
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| V. What is the outcome afterwards? | |
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| There is a possibility of Ib) + IIb) + IIIa)&b) + IVa)&b)&c)&A)&B)&C) and also: | |
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| a) | the inclusion, input of others into my work. |
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| b) | the adventure of translating from language to drawing. |
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| c) | working with my yearning, always - at least - to know the next stroke. |
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| d) | die Arbeit an meiner Sehnsucht, immer - mindestens - den nächsten Strich zu wissen. |
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| e) | Drawing systems (draughtsmanship). |
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