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Traces of the Self: Embodied Perception and Studio Practice in Painting, Teaching, and the Interpretation of Aesthetic Experience
Daniel Barber
Assistant Professor of Art and Art History Oxford College of Emory University
Painting and drawingwhen practiced as a comprehensively engaged pursuitexists as a psychosomatically embodied echo of existence. What is it to bewhat ontology guides the hand that draws with the will to impregnate the canvas, board, or paper with the pigment-evidenced trace of a life lived, an experience perceived, embodied, and impressed upon a ground, blank-prepared and cautiously waiting? The painter or draftsman is performingthrough rigorous and synthesizing practiceperceptual experiments on his or her own mindparticularly on the contextually rooted process of visionand exploring the bodys capacity to manifest experience through art. Painting is also a means of probing the emotional self, a means of direct metaphorical communication, and a way of somatically involving oneself in perception via the materials of the painting medium and investing these materials with (or discovering within them) the capacity to physically embody the self. Put more directly, painting and drawing are forms of thinking and awareness that are deeply rooted in the body.
In this paper I will examine embodied, transferable perception in studio practice from the dual perspectives of artist and teacher of studio art, aesthetics, and art history. Additionally, I will refer to current neurobiological investigations of perception and I will argue that the creation and experience of paintings as well as their interpretation in the fullest senserequires an awareness of response both cognitive and somatic. A drawn line, for instance, contains the trace of anothers bodily experience and use that can be re-experienced resonantly by the viewer. Cognitive-affective experience is also thus embodied by the artist in the work and subsequently re-embodied when the work is openly perceived. Increased awareness of this experiential process can productively shape both the practice of the artist as well as methods of teaching studio art and art history.
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