The introduction of this book is written by Anna Lovatt and titled “Drawing as World Making.” It begins with Rashid Johnson’s series “Untitled Anxious Red Drawings,” created in response to stay-at-home orders, intended to support the World Health Organization’s COVID-19 Solidarity Response Fund. The article discusses how during the pandemic, people from various walks of life began drawing as a means of expression following social distancing and isolation measures. It reflects that drawing is not only a pastime or a means to dispel worries but also a way to express hope or emotions in public spaces.
The article raises the question, “Why drawing now?” and provides complex answers. In times of limited resources, drawing is seen as the inception of the conceptualization process, allowing for interpretation in forms like architecture, sculpture, or painting. Some artists view drawing as a means of psychological or economic survival, while others consider it a deep form of personal expression.
It also discusses the conceptual and defining role of drawing in terms of materials, support, tools, and the creative process, emphasizing that drawing is a complex activity based on relationships. It explores the current status of drawing by looking at how it responds to the changes of the times and global crises, and how it conveys individual experiences and the impacts of global events on individuals.
This article offers an overview of the development of contemporary drawing since 2013 and examines how it deals with the complex temporality that constructs our current lives.
The works discussed in the article reflect the unrest and instability of the times. I believe the article deeply investigates drawing as a practice—not just as a medium for artists to express emotions but also as a conduit for communication and expression during periods of social isolation. Drawing, as a form of expression, can be a tool for mental healing and a medium for reflection and documentation. Drawing is imbued with a profound significance beyond paper and paint, acting as a link between past and present, individual and collective experiences. The author demonstrates the multifaceted role of drawing in various cultures and situations, from personal self-expression to social-political commentary.
Having read the article, I feel that drawing is not merely an art form but a powerful mode of communication that transcends language and cultural barriers, capable of touching hearts and resonating with others. It has made me reflect on the value of art in evoking shared human emotions and experiences, especially in challenging times, where its power is more evident. I also consider art to be full of strength and emotion, holding a unique meaning.
SHUWEN 