"Experimental Drawing" is a mark making inspired exploration of the performative and material possibilities of drawing, reimagined as a dialogue between the artist, tools, and surfaces. Inspired by the tactile and dynamic nature of mark making, the project challenges traditional boundaries of drawing by prioritizing process, physicality, and discovery.

Over three weeks, participants engaged in a series of experimental exercises that transformed drawing into an embodied, collaborative act. The project culminated in a public exhibition where the tools and marks coexisted as equal elements, offering viewers a glimpse into the traces of movement, rhythm, and material interaction.
The exhibition was both a documentation and celebration of the creative process. Brooms, squeegees, and other unconventional tools used during the sessions were displayed alongside the resulting large-scale compositions. These tools became artifacts, carrying the story of the artists’ actions, decisions, and interactions with their materials.

Conceptual Background
This project is also part of a collaborative reflection on pedagogical practices in the "Idéutvikling og Eksperimenterende Prosesser" course, as detailed in the article: Takle, Tone; Skogen, Anita; Björkendal, Nina Ann-Charlott; Wittemann, Eivind & Henriksen, Camila Estrin (2023). Idéutvikling og eksperimenterende prosesser. FORM. ISSN 0805-9144.

Drawing transcends the figurative to embrace the physical. The project is rooted in the material turn within contemporary art, where the act of making is as significant as the final product. The physical engagement—from sweeping gestures to precise movements—transforms the artist into both a creator and a participant in the dialogue with the medium. Inspired by Richard Serra’s Verb List and the agency of materials, the project emphasizes how marks are not merely made but emerge from the interplay of intention, accident, and material behavior.

This project reflects my ongoing interest in the performative aspects of drawing and the relational dynamics between artist and material. "Eksperimentell Tegning" also builds on my earlier explorations of materiality, as seen in my MA thesis, "Honest Skin," where the agency of materials was central to revealing hidden narratives. The tools displayed in this project parallel the tea bags and parchment in "Honest Skin," both functioning as collaborators in the creative process.