Leif Low-beer

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It seems that the “what now?” void left by the Abstract Expressionists has often been filled by concept-heavy work that can be explained away through language. This deification of “idea” seems at times to threaten the basic appreciation of beauty, mystery, and perhaps even whimsy. In opposition to this, artists like Philip Guston, Cy Twombly and Jean Dubuffet use the decisive mark of the hand to access moments of immediacy, spontaneity, and clarity. Through such a mark, the viewer transcends idea and moves towards experience. With this in mind, I have come to embrace the liberating effects of “do” rather than “think” – to regard drawing as process and play, a mode of visual contemplation.

Working in this way has allowed me to take some of the principles developed in two dimensions and move them into three. When immersed in drawing, it is hard not to wonder how these ideas would manifest themselves in the physical world. In my recent work, I have started to play with perspective and depth of field by arranging real objects on the floor in space. I would like to make sculptures that, like the individual parts of my drawings, work independently but also read as a unity from a fixed point of view. It feels almost like working backwards to have moved so far away from my physical inspiration in order to start working towards it again. It would affirm my use of drawing as an exploratory medium if my work turns out not only to be a re-imagining of sculpture parks, but in fact sketches for sculpture in the making.