Motion Capture Exhibition Review

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Motion Capture is an exhibition that explores the relationship of movement in two artistic media: drawing and the moving image. Featuring artworks from the mid-twentieth century through to the present day, the exhibition emphasizes the way in which artists have employed the capacities of these mediums to communicate and embody movement. (Packer, 2012) In this exhibition the relationship between drawing and the moving image is explored through ideas of technology, legibility and that of the human body, both in the act of drawing and in the act of looking. The term drawing is applied to works that vary greatly in technique, it has been understood in different ways at different times and is difficult to define. During the Renaissance the ‘Disegno’ implied drawing both as a technique to be distinguished from colouring and also as the creative idea made visible in the preliminary sketch, it is defined by the shorter Oxford dictionary as: “The formation of a line by drawing some tracing instrument from point to point of a surface; representation by lines; delineation as distinguished from painting;… the arrangement of lines which determine form.” Despite this insistence on the formation of a line and the implied lack of colour, few would deny that a work formed by dots or shading or wholly in line but in a range of colours is a drawing. The search for a rounder definition leads one to look at the theory of Essentialism, the idea that any piece of artwork has a certain quality to it, or an essence that exists. It is by this very essence - or by having these certain qualities - that something can be called Art. On the other hand, if something does not have these qualities, then it is not Art. With the idea that everything has an essential nature to it, one can infer that it applies as much to the process as to the result, as every idea stems from a primary impulse
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