A major factor that contributed to project site consideration was the lack of vehicle transportation, which I knew would become a hindrance once the weather started to turn; therefore, I opted to work with what was within my immediate access. The site that I have chosen to explore for this building study is one that is very literally close to home—the site is located directly opposite my house. I view this scene every day.
Diptych, india ink on Stonehenge paper, each drawing 36” x 24”
I live in a residential housing development of duplexes, which borders on treed areas that feel like forgotten nature. This specific duplex model is not particularly architecturally intriguing; nor is it built using beautiful materials. During my initial investigative drawings, I asked myself why I was not interested in focusing on one house, or one segment of architecture. If I were to do so, it would provoke questions: why that house? Is it special? Is there something about the architecture that is being illustrated? And the answer to these questions is no. Rather, I aim to draw attention to the repetition; to the “sameness” of the row of architectural form. Through duplicity, there seems to be an expectation that their dwellers live in the same way. I’m interested in this because, as I live in one of these structures, I feel like I fight to find and work with my individual differentiation within a structure that is built for generic use. Yet, these houses have been occupied by people that have made lives within them, as the busy neighbourhood indicates. Perhaps I aim to capture a form of a self-portrait and to portray my concept of “home.”
Within my gestural drawings, I enjoyed expressive and spontaneous movement. However, I realized that my preferred technique did not effectively communicate the friction that I intended it to. I planned to instead display contrast within my final piece, which felt appropriately aligned with my concept and would allow me to practice two different techniques. The process evolved into a sighting experience through the deconstruction of perspective to allow for integrated learning.
On the right side of my final work, a diptych, I approached the scene technically, with a ruler and a somewhat-steady right hand; on the left side, I worked quickly with my left hand to produce a loose gesture, which completes the row of duplexes. Traces of personal presence and nature have not been included in the composition.