How Form 2350 Uncertainty 2023-2024

I describe myself as an artist living in Johannesburg. I make drawings and sometimes those drawings are filmed and become animated films. Sometimes, there are actors in front of the animated drawings and they become theater opera. So, it becomes a drawing in four dimensions, extending over time and space. The studio here is a vital physical and psychic space. You can think of it as an expansion of one's head. Instead of a synapse or thought traveling three centimeters in the brain, it's an eight-meter walk across the studio from one drawing to another image. The studio fills with all the stages of a project as it happens - the ink, the charcoal, and the page. Physically, the previous drawings are present, making them a vital part of the process. This is the garden studio, while there is a larger studio in town where workshops and sculpture-making happen. However, this is where animation, drawing, and editing take place. In the process, charcoal drawings are essential. Charcoal can be changed as quickly as one can change their mind. With one brush stroke, a drawing can disappear. This flexibility is something I appreciate, along with the granularity of charcoal. When brushes are new, they keep a good point for accurate work. But as they are used more, they become more recalcitrant and lose their shape. Drawing with either a good or bad brush provides different experiences. Charcoal is adjustable, not by rubbing it out, but by sticking other sheets over it. I have had two lives as an artist. After University, I made etchings and attended math school. I even had an exhibition. However, I then believed I didn't have the right to be an artist and tried to become an actor and a filmmaker, both of which failed. But I found...