My room


Can not hold on to anything…


Simply can not as I see thoughts blinking…

In the whole exercise so far, I am not interested to create a work, approach a space, when I removed the apple cut out, I removed the drawings placed on the table, I changed the net work of the wires, added a pastel green wire, and which changed their orientation, as if now I was approaching the table, the corner of the table and even the drawing I was not too sure of…

So I left the place, and that evening, felt as if with turpentine I needed to wipe out the drawing from the ply board. I also think of surfaces, why I chose to have this brown striped board and its connection with the space.

The carpenter asked me if I wanted it placed vertically. Horizontally, he often asks as he cuts and suggests, ( Aissay achha Lagay ga) it will look nice in this way only. I don’t day much as I am not really interested in painting it, just want to see the form.

Coming back to the mental space I entered into. I visualised now an individual, since I usually draw a figure which represents me, of what I feel in that space, or to the space, I visualised him on the splashed, dried, stained wood board of turpentine in an exploded sense. He is no longer climbing a drawn ladder, he is no longer wanting the apple, instead he explodes with strings which are around him… And then I question myself in the process

Do i search for a connection of the strings, the wooden insertions and the drawings…
Do I see this as a way to expand my mental exercises which erupt in the mind

‘I emphasise that the works function in relation to each other and should not be treated as separate entities, also that the sequence is unfinished and so far I adequately addresses all that I want it to address. I do not envisage a conclusion at this time, or at any time – these works continually evolve – these works are way stations ( Dallow 2003) ‘

Aileen M Stackhouse, page 31, ( to draw thought – how can this be done differently?)
Managing creativity : exploring the paradox /​ edited by Barbara Townley, Nic Beech.
Cambridge University Press, 2009.

I am interested in the relation, so far how one thing leads to another, of me creating the door of the fort, if I have to put it in words which I wish not to do, otherwise, I could say, a gate, an entrance of some sort,


I will not erase these marks, nor of the hexagon, octagon like structure which I drew behind the glass door, nor this gate since it lead to a cut out, to another cut out, to the forms below, to the strings. To the drawings. To the erasing , removing and thinking of mediums…

Maybe this exercise is to understand this process.

‘Sometimes other architects ask how I find the time to draw. I think the question speaks volumes. To my mind there is nothing more beautiful than finely crafted line drawings and they are a measure of the passion and care that the architect feels for the commission. The drawing, the composition, the weight of line and the detail, commit to the end product.’

Alan Dunlop


My Drawing on sketchbookx application on I pad, movement of the finger to draw, visualising a box which will never be…

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