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What first attracted you to the idea of drawing a shot from a movie?
Inside Dawn Clements's Greenpoint Studio
We visited the Brooklyn-based artist as she put the finishing touches on new giant drawings she's exhibiting at Pierogi.
Click to View 12 slides
Many years ago, when I was in my early twenties, I remember sitting by this beautiful old empty swimming pool from the 1920s or something, and drawing a scrolled panoramic drawing of that swimming pool. I'm interested in that pan, but I hadn't thought of it in terms of the movies back then, I was just incorporating a kind of peripheral vision from different points of view.
Back in the 90s I was doing a lot of drawings of still lifes on tables. There's this wonderful book by Norman Bryson called Looking at the Overlooked: Four Essays on Still Life Painting
; at one point he describes still life as being an anti-linear perspective. What I think he was suggesting is that the point of view is ever so slightly changing when you look at objects, because if you're close to them you can't see them all at once, you have to move your eyes or your head a little bit. That kind of scan was happening naturally in my work without my being super conscious of it because I was working with still life.
I didn't have a studio, I was working at home and because I like the movies I would often have the TV on, and then eventually some of the words from the TV or movie or soap opera I was watching would start to creep into the still life. Eventually I started to incorporate some images from the TV into the work. And then I was invited to be an artist in residence at Middlebury College.