Charlotte Schulz–The Longest Night

November 20, 2011

Two main interests have occupied my thinking as an artist: space and narrative. In looking to Cezanne, Cubism, and traditional Chinese landscape painting, I sought to break from a single point-of-view and began using a grid in which subtle shifts occurred from one scene to another. I drew upon personal memories and events to create fictionalized scenarios situated in domestic architecture and the suburban landscape. Over time, these images lost their linear, geometric structure, and what emerged was a synthesis of various landscapes, architecture, objects, interiors, and weather.

Bending and folding the plane of the paper allows me to investigate the ways in which the virtual images locate themselves within these real spaces. Just as buildings are positioned within the landscape, I allow images to find their way into the folded and bended terrain of the paper. My drawings create a purposefully disjointed narrative, fusing historical catastrophes with domestic interiors, postmodern architecture, and other-worldly landscapes. Moreover, with the juxtaposition of tiny forms to expansive spaces, they can only be experienced in a temporal manner. Like an unfolding in time, the result is an almost cinematic experience wherein one image or sequence yields to another.

My aim in drawing is to depict a psychological topography—one in which views proliferate and multiply, stretching and unfolding onto the surface of carefully constructed paper, or, in counterpoint, folding back in on themselves. Through the careful blending of charcoal with delicate erasure, vignettes of diverse images and spaces are interwoven with each other, and the drawing seemingly emerges out of the paper. With this, voids of untouched paper are established and act as a presence that weaves in and around the image.

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