Page 57 - Studio International - April 1969

Drawing Series IV/Cross Reverse

1968 (Fours)

In III and IV all of the corners and all of the
Sol Lewitt centres are different.
A system of four series comprising 192 draw-
ings completes the work:
4 x 24 = 96 x 2 (A + B) = 192
The entire work will be done as a book.
The page of a book is an absolute, two-dimen-
sional space. A book is complete and intimate.
The whole set would be at hand.
Each drawing is composed of four squares There will be a drawing on each page and
which are in turn divided into four squares, each spread of two pages will contain A and
each with a different value (1, 2, 3, 4). Each B of the same drawing.
quarter has a 1, 2, 3 and a 4. These series The book will be separated into four sections,
contain all twenty-four permutations of 1 2 each containing a complete set done in
3 4. methods A and B (forty-eight drawings). A
They are rendered in two methods, flat (A) will be only on left-hand pages, B only on
and tonal (B). right-hand pages.
(A) 1 is represented by vertical lines The set will also be done on two three-dimen-
2 is represented by horizontal lines sional forms 6 x 4 ft.
3 is represented by diagonal lines One will contain A, the other B.
left to right These two 4 x 4 x 6 ft (high) forms will
4 is represented by diagonal lines contain the whole set.
right to left Each face will contain one series.
—these are the four different absolute direc- A and B will be placed side by side with
tions of line similar series facing in the same direction.
(B) 1 is the same as in (A) I—North, II—East, III—South, IV—West
2 is 1 +2 and placed close enough together to be seen
3 is 1 + 2 3 at the same time.
4 is 1 +2+3+4 The drawings are made in pencil (6H) on a
—these are four gradations of tonality in con- baked white flat enamel surface.
trolled stops Parts of the set, and individual drawings,
The lines should be drawn as closely together have been done on walls.
as possible. The quality of line and appearance of the
The sets of twenty-four permutations of wall-drawing depend a great deal on the sur-
1 2 3 4 are arranged in this order: 1/1234 face of the wall and the use of a hard pencil
2/1243 3/1324 4/1324 5/1423 6/1432 7/2134 (6H).
8/2143 9/2314 10/2341 11/2413 12/2431 The lines must be light to merge with the sur-
13/3124 14/3142 15/3214 16/3241 17/3412 face of the wall and, in the case of method B,
18/3421 19/4123 20/4132 21/4213 22/4321 to obviate the tonal and illusionistic proper-
23/4312 24/4321 ties of this method.
There are four different series (systems for These wall-drawings may be done by any
changing the combinations of the squares). hand (mine included) as long as the direc-
There are many other possible series but I tions are followed, i.e. the lines be close to-
have limited my choice to four. gether, light, and follow the correct direction.
I/ Rotation (Each person who draws the lines would, of
course, do it slightly differently.)
The drawings are done on the wall, directly,
so that a condition of absolute two-dimen-
sionality is maintained.
Any intervening material on which drawings
II/Mirror are made results in an object.
Two dimensional works are not seen as ob-
jects.
The work is the manifestation of an idea. It is
an idea and not an object.
In I and II all of the corners are the same, The work is immovable. The actual wall-
and all of the centre squares are also the same. drawing either remains in place or is obli-
III/Cross Mirror terated.
A similar drawing can be done in another
location.
The drawing and its location are in an abso-
lute relationship.