David Jaramillo Klinkert led this meeting of the Unit. Human, all too Human. Drawing forces and coupling of music and drawing.
Forces of isolation: are supported by the fields, and become visible when they wrap themselves around the contour and wrap the fields around the Figure.
Forces of deformation, which seize the Figure’s body and head, and become visible whenever the head shakes off its face, or the body its organism.
Forces of dissipation, when the Figure fades away and returns to the field: what then renders these forces visible is a strange smile. But there are still many other forces.
Francis Bacon examples.
“heads whipped by the wind or deformed by an aspiration, but also all the interior forces that climb through the flesh. To make the spasm visible. The entire body becomes plexus”
“Figure and which have a prolonged, exaggerated point, like vampires: the entire body trying to flee, to disgorge itself through a tip or a hole. Or else, on the contrary, it will flatten itself and stretch itself into a thick mirror, lodging its entirety into this width until it separates and dissipates like a lump of fat in a bowl of soup. The Figures themselves always present scrubbed zones and blurred ones which attest to this dissipation” Deleuze
“the Figure is no longer simply isolated but deformed; sometimes contracted and aspirated, sometimes stretched and dilated. This is because the movement is no longer that of the material structure curling around the Figure; it is the movement of the Figure going toward the structure and which, at the limit, tends to dissipate into the fields of color. The Figure is not simply the isolated body, but also the deformed body that escapes from itself. What makes deformation a destiny is that the body has a necessary relationship with the material structure: not only does the material structure curl around it, but the body must return to the material structure and dissipate into it, thereby passing through or into these prostheses-instruments, which constitute passages and states that are real, physical, and effective, and which are sensations and not imaginings.” (deleuze)
The body without organs is flesh and nerve; a wave flows through it and traces levels upon it; a sensation is produced when the wave encounte
Bacon has not ceased to paint bodies without organs, the intensive fact of the body. The scrubbed and brushed parts of the canvas are, in Bacon, parts of a neutralized organism, restored to their state of zones or levels: “the human visage has not yet found its face ….”rs the forces acting on the body
Bacon is Cezannean: for both Bacon and Cezanne, the deformation is obtained in the form at rest; and at the same time, the whole material environment, the structure, begins to stir: “walls twitch and slide, chairs bend or rear up a little, cloths curl like burning paper.. . .”2 Everything is now related to forces, everything is force. It is force that constitutes deformation as an act of painting: it lends itself neither to a transformation of form, nor to a decomposition of elements.
We will draw the body being deformed by forces of contraction, aspiration, dilatation, dissipation.
Two sensations are coupled together like “wrestlers” and form a “combat of energies,” even if it is a disembodied combat, from which is extracted an ineffable essence, a resonance, an epiphany erected within the closed world
We will draw the body being deformed, shaped with music.