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Ticket 75f6ee8de53f97f4c3773f440306dabca384f1904adf038ac7730a05652ab844

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Description

What would be the most direct artistic response in the presence of beauty, or in the face of things that trigger strong emotion? It was customary for many generations of artists to pick up a simple tool of pencil against papers to document whatever thoughts and images that crossed their minds. It was a conventional way of recording immediate data given to consciousness. Today's advanced imaging technologies, widely available to the general public, have made it possible for anyone to capture and record the instants of one's choosing. In this sense, drawing and photography are two of the easiest and the most immediate media out there which allow anybody to freely engage in the act of creation. We claim that, although drawings and photographs are neither spoken words nor written texts per se, they too are sorts of speech: ways of telling ideas.

Both drawing and photography have the temporal peculiarity: they handle things of instantaneous nature; both are directly related to an act of recording. The key strength of both media is that they can record with utmost immediacy whatever subject matter they were employed to record. With the passing of the twentieth century, the two media were freed from the representational imperatives of the past era: they were relieved of their duties of realistic depiction of objects and were utilized to either express a subject's inner psyche, or to capture an objects' essence rather than its mere appearance. As such, they were no longer just media: they have evolved to become the independent genres of art in their own rights.

Multiple methods and temporal elements came into the picture for the purpose of capturing and expressing singular moments. Drawing and photography expanded beyond the bounds of flat surface and sought three-dimensional space. They, too, took on the categorical ambiguity that is common to all disciplines in the postmodernist era. Discerning artworks by their media types are no longer the interest of contemporary art. Rather, it is what kind of story those media were employed to tell, that is of the prime interest.

The drawings and photographs in this exhibition are not meant to be appreciated at their face value. They are serving as motivations or methods of speech that facilitate what artists have to say. In this regard, how an artist speaks is merely a starting point; it is what he or she says that matters. It is our intention with this exhibition, and perhaps a theme, to aid the viewers to find and liberate their own ways of telling stories in virtue of the universality of drawing and photography.

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