Cartografia através do desenho: territórios do pertencimento de Stephen Farthing

The interview with Professor Stephen Farthing covers part of his career as an artist, researcher and teacher in drawing, including thoughts on the roles of drawing and its learning process based on its understanding as interdisciplinary knowledge going beyond the arts field. Farthing establishes relationships between drawing, cartography, the perception of belonging in territories mapped by drawing


Resumen
La entrevista al profesor Stephen Farthing recorre parte de su trayectoria como artista, investigador y docente en dibujo, incluyendo reflexiones sobre las funciones del dibujo y su proceso de aprendizaje a partir de su comprensión como conocimiento interdisciplinario, yendo más allá del campo de las artes.Farthing establece relaciones entre el dibujo, la cartografía y la percepción de pertenencia a territorios mapeados por el dibujo y la necesidad de registrar el espacio, las dimensiones, la historia y las emociones.Es también a través del propio dibujo que el investigador investiga sus intereses en el arte, como en sus estudios sobre la pintura.Los dibujos del artista instigan tanto reflexiones sobre la pintura como sobre el dibujo mismo como forma de reflexión y elaboración del pensamiento.Es en este sentido que el investigador defiende la enseñanza del dibujo a través de un enfoque amplio, entrelazando áreas de conocimiento.If you show a class a 15,000-year-old drawing of cattle on the walls of a cave in southern France, then talk to them about the anatomical drawings of Leonardo da Vinci in the Royal Library in Windsor, then compare those drawings to Van Gogh, a tattoo on human flesh and the line at a road junction that causes your taxi to draw to a halt… You have the start of a conversation about drawing.Perhaps the following week, we look up at the night sky and make a cerebral drawing by joining the stars that conjure the name Orion in our heads.At that point, we have begun to draw drawings without making a mark on a sheet of paper.
As part of my research through drawings, in the following two figures, I have attempted to draw painting.It started with motivation, the seen and the idea -we then move to knowledge, art, historical and material -then through subject matter to the relationship between drawing and painting.The first one (Figure 1) is a drawing of a painting.The second image (Figure 2) is a drawing of a specific painting by Vermeer, The Girl with Pearl Earrings.The size of the balloons that represent the component processes is determined by my estimation of their relative importance within that particular painting.I have made similar drawings of a range of paintings 5 .ZIMMERMANN, A.; FARTHING, S. Desenhos do desenhar: pesquisa e práticas de Stephen Farthing.Revista Apotheke, Florianópolis, v. 6 n.2. p.59-72, 2020. DOI 10.5965

In conclusion
Throughout the interview, Professor Stephen Farthing talks about part of his research trajectory in drawing, highlighting the process of drawing as part of a process of elaboration and representation of thought -the drawing that communicates, that understands, that brings a message or that wanders through ideas, memories and the limits of territories.In cartography, at the same time that drawings delimit spaces, establish measurements and guide geographic routes in the two-dimensional transcription of the three-dimensional world, they also tell about belonging, familiarity, and estrangement and make us glimpse imaginary routes at the intersection of so many other routes and stories possible.Using these drawing possibilities, Farthing investigates the paths of paintings, seeking to understand and represent the relationships between motivations and processes.Based on the various properties of drawing, the researcher highlights the importance of its teaching and practice, from the school years to university, through a broad understanding of its possibilities, intertwined with the most diverse fields of knowledge, transcending its historical connection to art.

1
Jade is a student at the Master in Visual Arts Education at the University of the State of Santa Catarina State (UDESC).Specialized in Museums and Galeries from Positivo University (2020), graduated in Visual Arts from Faculdade de Artes do Paraná (2019) and in Pedagogy from FAEL (2022).Teacher from Elementary School, studio teacher and also an illustrator.Lattes: https://lattes.cnpq.br/8094365079593309;e-mail: jade.katchiri@gmail.com;Orcid: https://orcid.org/0009-0008-0018-8126.. 2 Anelise has a PhD in Design from the Federal University of Pernambuco (2016) with CNPq scholarship at the University of the Arts London/UAL (2014-2015) with studies on teaching drawing through interdisciplinary approaches.Lecturer at the State University of Santa Catarina (UDESC) at the Design Department and the Postgraduate Programme in Visual Arts.Member of the Research Groups Entre Paisagens/UDESC; RIDE, International Design/Education Network/UFPE; and LITERALISE/UFSC.Master's Degree in Visual Arts (UDESC, 2008) and Bachelor's degree in Graphic Design (UFSM, 2001).Lattes: http://lattes.cnpq.br/8548816949021546;e-mail: anelise.zimmermann@udesc.br;Orcid: https://orcid.org/0000-0002-8751-0091. .8, n. 1, e4956, p. 1 -11 , Fev. -Mai.2024 .8, n. 1, e4956, p. 1 -11 , Fev. -Mai.2024    Stephen Farthing, 2015.Fonte: Anelise Zimmermann.Stephen Farthing is an artist, a painter and a Professor of Drawing.His teaching career includes working as a Lecturer in Painting at Canterbury College of Art(1977)(1978)(1979), a Tutor in Painting at the Royal College ofArt (1980Art ( -1985)), Head ofPainting (1985Painting ( -1987) )  and Head of Department of Fine Art(1987)(1988)(1989) at West Surrey College of Art and Design, Ruskin Master at the Ruskin School of Fine Art, Professorial Fellow of St Edmund Hall, Oxford (1990-2000) and the Rootstein Hopkins Research Professor of Drawing at the University of the Arts London/UAL (2004-2017).He studied at Saint Martin's School of Art and graduated in 1973 with a Master's in Painting from the Royal College of Art in 1976.As he participated in the Abbey Scholarship Programme, Farthing studied for a year at the British School in Rome, Italy.He became a member of the Royal Academy of Arts in 1998.He participated in many art exhibitions, such as the Biennale of São Paulo, in Brazil, and others in the United Kingdom, Latin America and Japan.In time, Professor Farthing has written and published books on drawing practice and research through drawing.Website: http://stephenfarthing.co.uk/ .8, n. 1, e4956, p. 1 -11 , Fev. -Mai.2024 Interviewers: In your research "The Bigger Picture of Drawing 3 ", you talk about the transition of the three-dimensional to the two-dimensional perspective through drawing.Where does the cartography drawing, the drawing of life, stand in this perspective?How does cartography create connections with the territory?Professor Stephen Farthing: When you use the word "perspective", I assume you are referring not to perspectival drawing but to a range of methods of representing three-dimensional information as a two-dimensional image.Cartographers aim to describe the landscape as a measured two-dimensional "readable" image.Maps are readable like text because they are based on a set of conventions that, as readers, we must learn to recognize, while artists drawing are, by definition, pragmatic.A life drawing by Rembrandt is not shaped by a rule book, a set of universally understood conventions.With that said, artists draw with many shared assumptions in mind.The darkness of a line can add emphasis; lightness can suggest vagueness or uncertainty.An outline that describes a recognizable shape is often where a drawing starts; adding tone can indicate volume or mood.Artists do not work with the certainty of a writer, that is, the one-to-one equivalencies of an alphabet and a dictionary.They draw intuitively with line and tone, pragmatically shaping the drawing as they go.As such, the map is much closer to the written word than an image drawn from life by an artist.The written word is a two-dimensional representation of speech, just as a musical score is a representation of sound, and the map is a representation of the surface of either terrain or the heavens.Cartography establishes measured relationships between the component parts of whatever is being mapped.Cartographers can tell us how high a range of mountains is or how wide a river is; it can take us on imagined journeys and help us plan actual routes. .8, n. 1, e4956, p. 1 -11 , Fev. -Mai.2024 In terms of emotional content, a map of the Amazon generates a very different set of emotions from a map of the streets and buildings in São Paulo.A drawing by Delacroix, a musical score and a written text all have the ability to generate emotional responses in the reader.Interviewers: How does the feeling of belongingness perceive our perception of the territory we are drawing?Professor Stephen Farthing: I suspect that belongingness is where the emotional content of every drawing originates, that is, from both our sense of self and our familiarity with what we are drawing.If we take the example of the landscape drawings made by the first European settlers in Australia and North America, what is clear is that the European artists had a deeply embedded understanding of the landscape where they were born, which converted the unfamiliar as they drew into something familiar.So, we see drawings of Australia based on a European landscape model.The drawings by the indigenous people of Australia spoke of the landscape in terms of stories and magical relationships, not in terms of trees, grass, and skies, which typified the European understanding of landscape.Interviewers: Do drawings cross the barriers of territory and our belonging to the space we are in?Professor Stephen Farthing: In common with the spoken and written word, drawing enables the user to record, explain, wonder, understand and share conclusions in a two-dimensional form with others. .8, n. 1, e4956, p. 1 -11 , Fev. -Mai.2024 Do we learn to draw when we draw?Do you think we learn how to learn when we draw?Professor Stephen Farthing: I suspect that as we draw, we can learn both how to draw and how to learn.Over time, the more we draw, the more insightful and more eloquent our drawings can (but not necessarily) become.Great draftsmanship is often the product of practice.But for this to become true, the person drawing must be chasing the answer to a question or actively engaged in a voyage of discovery, not passively replicating (however skilfully) what is before their eyes.Interviewers:How has your research changed how you used to teach drawing and how you used to think about your work as an artist?Professor Stephen Farthing: My research into drawing has opened my eyes to the value of those responsible for organizing formal education at all levels to view drawing as an essential tool and a key component of our literacy and creative thinking.So we teach drawing not simply in the art room, as an art historically driven thread, but as a cross-disciplinary transferable skill.Interviewers:Why research drawing through drawings?Professor Stephen Farthing: Plenty of people have written books about drawing, but few have managed to capture its essence.For this reason, I thought I would try to understand better what drawing is by trying for over a decade to draw drawing 4 .The reason?Because I thought it was my duty as a Professor of Drawing to .8, n. 1, e4956, p.1 -11 , Fev. -Mai.2024    be able to explain to others what we are doing when we draw and, by doing that, make it easier for students to understand how to draw.

Figure 2 -
Figure 2 -Drawing of the painting The Girl with Pearl Earrings by Vermeer.