This book rests on the theoretical reflection of the image, thought, and drawing, that ‘use’ error as an inventive resource, giving considerations about the forces that hold sensorial, conceptual, and bodily dimensions of the image, without which we believe the analysis and practice of drawing cannot progress. To this end, there is the need to articulate mental and material levels of the image and, above all, the space that houses its interaction by a kind of darkness, offering access to the repertoire of creative ‘bewilderment’. For that purpose, we run up the caliber of the image that precedes the hand movement intrinsically linked to error, favouring new ways that, rather than ‘right’ or ‘wrong’, positively motorize the invention process. The aim is to develop the idea that error can be understood as a creative feature that praises chance and places depiction and expression (of thought) in a space and time for the performance of an eye that can see outside, inside, and ‘beyond’ - the ‘third eye’ that the hand (gesture) uses to draw the novelty. Only by integrating error processes and logics, it is possible to analyse the ways in which drawing matrices react to it. Because ‘mastering’ a specific anatomy of error assumes controlling both drawing (or its possibility) and the modes of ordering and sequencing the layers of thought, it is considered, the inventiveness, ‘representable’ in two additional fields of analysis, remarking the impressive drawing classes, in order to evaluate the respective legitimacy within its consecration, along with the drawing that effectively ‘draws’ (expressively). As an object, fact or testimony, drawing always implies a choice; a choice that only happens within the range of ‘wrong’ acts; a representation which is based and fixed neatly in a symbolic act and eventually extends the luminous half of it.
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