Capturing the Ephemeral: Transience and Materiality through Drawing

这个以实践为基础的研究项目将使用阿姆斯特丹Rijksmounge的Nova Zembla版画收藏-在北极冻结了三个世纪-作为对绘画的物质性和纸上博物馆物品的短暂性之间关系的调查的刺激。这项研究将导致一套图纸的生产，将显示在Rijksmounge与选择的Nova Zembla版画。版画被作为商品进行了1596年失败的荷兰远征远东通过东北通道。在Nova Zembla上建造了一个过冬的避难所，在那里，印刷品堆放在一起，直到他们被发现：避难所充满了冰，把堆栈变成了冰冻的纸-机器块。1977年，科学家们设计出了一种方法来分离这些层，并将成千上万的碎片重新组装起来。因此，版画的物理性经历了变形的变化：从二维的纸张到三维的硬化的黑色块，再回到纸上。作为纸上短暂物体的典范，Nova Zembla版画将通过其图像的扭曲和碎片化，其纸支撑的材料转变以及其保护的影响，为绘画的创新方式提供模型。将设计使用传统方法和材料的新办法。例如，水印的历史实践将致力于新的目的：图像将被嵌入纸张，当作品被举起到光线下时显示出来，并引用隐藏在冻结块中的印刷品的图像。 该项目将扩大申请人的持续兴趣，设计新的方式来创建和展示图纸，以询问博物馆学层面的流动状态。它位于当代绘画的复兴领域，也与当前关于物质性的辩论以及物体的纹理如何以多种方式交流有关。该项目通过绘制研究和实践，通过各种手段探索短暂性的主题，进一步背景化。该研究将建立一个开创性的，独特的话语，旨在弥合当代绘画，材料和博物馆环境的辩论。Nova Zembla版画在北极冻结了三百年，是16世纪耐力和发现之旅的组成部分，这是观众参与的一个迷人的切入点。已确定了各种各样的潜在受益者：来自同一领域和其他领域的研究人员;专业人员和从业人员团体;教育团体和一般公众。预计该项目将产生一系列社会效益，包括直接效益（如讲座）和长期效益（如展览出版物）。这些好处将表现为文化和智力资本、学习和技能以及生活质量的改善。为了便于在所有阶段对研究进行评估，批判性思考将是传播的核心要素。这将采取展览和项目出版物的形式，将记录和情境化的研究，而讲座和画廊会谈将使深入，直接的知识转移，和一个基于网络的投资组合将扩展研究的持续可访问性到世界各地的观众。

This practice-based research project will use the Nova Zembla collection of prints at the Rijksmuseum, Amsterdam - extraordinary for having lain frozen in the Arctic for three centuries - as a stimulus for an investigation of the relationship between the materiality of drawing and the ephemerality of museum objects on paper. The research will lead to the production of a suite of drawings that will be shown at the Rijksmuseum together with a selection of the Nova Zembla prints.The prints were carried as merchandise on a 1596 failed Dutch expedition to the Far East via the Northeast Passage. An over-wintering refuge was built on Nova Zembla in which the prints lay in stacks until their discovery: the refuge had filled with ice, transforming the stacks into frozen papier-maché blocks. In 1977 methods were devised to separate the layers and reassemble the thousands of fragments. The physicality of the prints thus underwent metamorphic change: from two-dimensional paper sheets to three-dimensional hardened, blackened blocks and back again to paper.As paradigms of ephemeral objects on paper, the Nova Zembla prints will provide, through the distortion and fragmentation of their imagery, the material transformation of their paper supports and the impact of their conservation, models for innovative ways of making drawings. New approaches to the employment of traditional methods and materials will be devised. For example, the historical practice of watermarks will be dedicated to new ends: imagery will be embedded into paper, revealed when the work is held up to the light, and referencing the images of the prints that were hidden within the frozen blocks. The project will extend the applicant's ongoing interest in devising new ways of creating and exhibiting drawings to interrogate the museological dimensions of the state of flux. It is situated within the resurgent field of contemporary drawing and also connects with current debates on materiality and how the texture of objects can communicate in many ways. The project is further contextualised by drawing research and practice that explores themes of ephemerality through various means. The research will establish a pioneering, distinctive discourse that aims to bridge debates on contemporary drawing, materiality and the museum context. The fact that the Nova Zembla Prints were frozen in the Arctic for three hundred years and were integral to a 16th Century voyage of endurance and discovery, is a fascinating point of entry for audience engagement. A diverse range of potential beneficiaries have been identified as: researchers from the same and other fields; professional and practitioner groups; educational groups and the general public. It is anticipated that a range of social benefits both immediate (eg.resulting from lectures) and long-term (eg.resulting from the exhibition publication), would result from the project. These benefits would be in the form of improvements in cultural and intellectual capital, learning and skills, and quality of life. In order to facilitate evaluation of the research at all stages, critical reflection will be a core element of dissemination. This will take the form of the exhibition and a project publication that will document and contextualise the research, whilst lectures and gallery talks will enable in-depth, direct knowledge transfer, and a web-based portfolio will extend on-going accessibility of the research to a world-wide audience.