The moment when you hit your foot
at the table and it is the table's fault
Ink drawing series
Started 2019/ongoing since
Fassade
Ink on paper, 78 x 107 cm
2022
Ink on paper, 78 x 107 cm
2022
Der Reiter 1
Ink on paper, 78 x 107 cm
2022
Ink on paper, 78 x 107 cm
2022
Der Reiter 2
Ink on paper, 78 x 107 cm
2022
Ink on paper, 78 x 107 cm
2022
Drawing can be understood as an appropriation strategy of internalised exteriority.
It could also be argued that through drawing we can apply and reflect on our habit of seeing. In doing so, we may notice that the basis of what is depicted is what we
have seen - in interaction with the material in which it is shown. Moreover, that the
closeness to what is depicted is gradual, that similarity must be selective and that we grant what is depicted with information beyond what is visible.
Sebastian Grande's sketches seem to negotiate these statements and involve our habits of seeing, which have been shaped by photography and film. In his (almost) daily drawing practice, seen objects and spatial situations are the starting point for his drawing considerations, which deal with possibilities of representing spatial situations and the intrinsic life of objects.
By reducing them to their formal characteristics, their comprehensible fictionality emerges. It refers to what has already been seen, and at the same time only creates the objects through their representation. Due to the structural similarities that the objects and their arrangements have in the various sketches, they become recognisable as constructions and are also endowed with a temporal progression
and dynamics. The objects move through the pictorial space. They collapse, are thrown through space, float and fall, fold and support themselves.
The drawings appear as cinematographic snapshots, whereby the existence of the objects no longer seems to be limited to the moments depicted: the absence of images, which would lie between the sketches, enable the depicted objects and spatial situations with possible narratives that refer back to what the viewer has
already seen. The depictions appear as representations.
Text by Annika Eschmann
Sebastian Grande's sketches seem to negotiate these statements and involve our habits of seeing, which have been shaped by photography and film. In his (almost) daily drawing practice, seen objects and spatial situations are the starting point for his drawing considerations, which deal with possibilities of representing spatial situations and the intrinsic life of objects.
By reducing them to their formal characteristics, their comprehensible fictionality emerges. It refers to what has already been seen, and at the same time only creates the objects through their representation. Due to the structural similarities that the objects and their arrangements have in the various sketches, they become recognisable as constructions and are also endowed with a temporal progression
and dynamics. The objects move through the pictorial space. They collapse, are thrown through space, float and fall, fold and support themselves.
The drawings appear as cinematographic snapshots, whereby the existence of the objects no longer seems to be limited to the moments depicted: the absence of images, which would lie between the sketches, enable the depicted objects and spatial situations with possible narratives that refer back to what the viewer has
already seen. The depictions appear as representations.
Text by Annika Eschmann