Rebecca Kerlin
Diagrams

Discussing concepts with others, I usually sketch on anything I can find, illustrating as I speak. Cast aside and later re-found, such imperfectly decipherable notes, already bearing layered traces, become a double palimpsest. Marks that once pointed to external meanings become objects in themselves.

Discussing concepts with others, I usually sketch on anything I can find, illustrating as I speak. Cast aside and later re-found, such imperfectly decipherable notes, already bearing layered traces, become a double palimpsest. Marks that once pointed to external meanings become objects in themselves.

Source Sketch, 2012-2013. Pen on polymerized cloth.

 source sketch



Iteration results from every process. At the most minute, variations between copies occur if only at the level of electron spin. At the scale of our selves, errors of selection and confabulation are unavoidable. Forward motion solidifies conformities and deviations alike.

The form becomes defined; it requires a certain space.

Diagram #2, 2013. Oil on wood veneer sheet. 13-1/2" x 19".

 Diagram #2



There is a logic to a mark which, once set down, requires others to follow.

The 'Drone Flowers' imagery here finds another point of insertion into the map, the landscape, the plan.

Diagram #3, 2013. Oil, alkyd, pencil, Epson Ultrachrome ink on wood veneer sheet. 13-1/2" x 19".

 Diagram #3



Here is a close-up of the inner workings. There's a lot going on here that wasn't visible from far away.

Close-to or the vaunted ten-thousand-foot-perspective: either view is simultaneously the product of reduction and of efflorescent fabrication.

Diagram #4, 2013. Oil on wood veneer sheet. 13-1/2" x 19".

 Diagram #4