CASEY TYLER CAMPBELL

Gesticulation of line through the psyche of life’s vibration

Nothing Is Scared, Gesticulation is a study of gestural line through the psyche of life’s expression; in chronological order, a documentation of love, lust, desire, loss, regrets, understanding emotions and anticipation. Line is the vehicle, an element of a conscientious effort to support conditions of a subconscious movement. The movement of my drawings, inspired by emotions, can be perceived and felt through the line’s delicacy, weight and authority. Nothing is Scared, Gesticulation is a visual testimonial upon which abstracted human anatomy and environments are composed to delineate and expose transgressive behavior. The ambiguity and mystery of Nothing is Scared, Gesticulation allows reflection of psychological awareness; like Rorschach ink blots the drawings are esoteric, where entopic shapes affirm developments in life, which make apparent ethereal beliefs.

The use of color in Nothing is Scared, Gesticulation is surrounded by symbolism. Color has metaphorical representation, which documents feelings involving desire. Through this symbolism; discussed by Kandinsky as clairvoyant, I am exposing masculine feelings along with an interpretation of sensual vehement situations. Through furious and delicate marks, color is used metaphysically, explaining abstract feelings, denoting passions, thus creating powerful dialogue within the work. The reverent line work is my way of explaining chaotic psychosis during abject imbalances, allowing sacred emotions to surface. There is conviction working in ink; its permanence reflects confidence and therefore accidents occur. These are intuitive drawings and I contemplate these erratic motions and challenge my existence to what will come next. As a decision has its consequence in life, the line has this same effect; every line is progressing, ever changing and forever wounding. The future of a drawing can be predicted and that has its benefits, but as life changes from the now these works should also be without a predetermined ending. Time evolves and challenges change, as do theses drawings, even when completed.

The drawings are a storm of emotion and sexual descriptions of desire. Thus exploring the relationship between automatic and mechanical drawing, with careful thought for the authority of composition, these drawings rely on spontaneous acts and thoughts along with the duality of reasoned mark making. The sexual content of the work connects me with psychological rapture which allows me to enjoy a muse whenever desired. The drawings are a visual documentation upon which abstracted genital and seductive body parts are masqueraded within the composition. Furthermore, the drawings are an organism of movement and ideas that tend to become uncontrollable. Love, lust, desire, loss, and regret are transparent sagas that plague my work and life.