The What is Drawing? Project: Featuring Naomi Schlinke

What is Drawing?

To complement The What is Painting? Project and further the overall dialogue Neoteric Art introduces The What Is Drawing? Project. The guidelines are the same: I thought it would be intriguing to ask artists this simple yet complex question. This query comes with no ground rules—it’s up to each individual artist to find their own approach and direction.

This project will be an ongoing exploration … let’s see where it takes us.

What Is Drawing?
Featuring Naomi Schlinke

Drawing is magic, pulling images from a well like water from an unseen source. Through drawing, one can imagine not only information, but also moods, forces, and qualities. Mark by mark, through shadow and erasure, it becomes whole and stands on its own.

Drawing is a path, a dance of angles, circles and voids. By definition, drawing suggests a movement connecting one thing, one place, to another. A single mark can span a vast space or become a tiny bridge leading to other bridges.

Drawing requires stillness, the senses focused and receptive. And although the hand is partner to vision, only the eye can trace forms in thin air without even touching paper.

naomi schlinke

Naomi Schlinke, Neck & Neck, ink on clayboard, 8” x 24”, 2006

About
My first major painting show was with the San Francisco gallery, Braunstein-Quay, in 1991. Since relocating to Austin, Texas in 1994, I have shown my work at numerous venues including the Robert McClain Gallery in Houston, The Dallas Contemporary and the MAC, Women & Their Work, Texas State University in San Marcos, D Berman Gallery in Austin, and most recently, D. M. Allison Gallery in Houston.

In the 1970’s and early 80’s I danced with the Margaret Jenkins Dance Company and the Joe Goode Performance Group, both based in San Francisco. Before coming to San Francisco, I received a B.A. and M.A. in dance from the University of Wisconsin-Madison.

The transition from dance to painting as my primary professional focus began in my mid-thirties, a pivotal age for all athletes. During my years in dance, I savored my off-hours as a visual artist. To this day, they both occupy my creative imagination and practice. Nevertheless, I found myself drawn to a future of greater independence and flexibility that the painting life offered—to say nothing of the rewards of creating work that one can live with day by day. The forces at work on the dancing body still adhere in my painting.

www.naomischlinke.com

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