Robert Luzar

How I situate and create an art-work continues to arise through an expanded notion of drawing. Rigor and speculation are those aspects that immediately play into the moment a body is poised into a space. This phase incorporates the slightest hint of a physicality, reflecting through a mark system, an engagement with surface as much as space the moment of decision. The body and mark, some of the first elements one is confronted with prior to artistic production, combine to explore and locate a critical space of artistic creation framed by the sense of a question: How does an artwork emerge through a sense of intensive reflection over how it begins? For me this question persistently reoccurs within a performance-based kind of mark-making (drawing). There where the body initiates a gesture and encounters a space and surface is an elementary state that conjures a constant reflection over the consideration of bodily presentation and materials - at times beyond the conventions of marks traced on paper, which inevitably leaves the body ineffably absent. Some examples in how I position the body, with a more disjunctive relationship with the mark occur through: an analytical dissection of spontaneous live-art performance through video, displaying gestures of introspection from pointing, falling, and turning, and the substitution of the page with the photographic and illuminated surface. These ways of working, and those that follow, are inspired by a conceptual concern for re-evaluating the appearance of these gestures, rather than expressing the indeterminate, inexpressible and open. My works and projects have been presented through a series of live art events and exhibitions in the UK and Europe. After completing the Masters degree at Chelsea College of Art & Design in 2005 my artistic activities have included: being short listed for art prizes (The Open West (2009), and The Creekside Open (2011)), participation in the UK travelling exhibition project Openended (2008), a commission to create a durational performance-drawing at the Making Sense conference supported by Jean Luc Nancy (2009), and notable group exhibitions curated by Franko B (Can You Here It, Nunnery Gallery, 2010), and Edward Lucie Smith (London International, 2011). By 2013 I am aiming to complete a full-time PhD at Central Saint Martins College (London, England). Under the title ‘Drawing Upon Multiplicity...’ this project proposes that performance-based drawing exercises the notion of an un-marked, non-indexical trace specific to thought. Such a trace is also akin to a philosophical form of act and gesture, or ‘multiplicity’. In which ever way the mark and body combine, even in an uncoordinated manner, they converge upon a certain notion of introspection. Since the romanticist and conceptual strains of art continue to address an idea as paradoxically inexpressible I have openly addressed the place of the idea alongside a philosophical term: gramme(e), a ‘trace’ designated neither by an object nor a conceptual idea. Gramme(e) is a frame that encourages an aesthetic responsibility toward directing attention to an element that is present as a factor, which forces one to work toward and around a state of concentration and (re)evaluation. read full statement

Location London