Artist Tony Orrico’s Magic in Creating the Penwald Drawings

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I just listened to Tony Orrico talk about a process he went through leading up to his art at PopTech this past week. He did a series of drawings called the Penwald Drawings, which are a series of bilateral drawings in which Tony explores the use of his body as a tool of measurement to inscribe geometries through movement and course.

The master of each drawing is a conceptual score of his efficacious techniques, imposed variables, and specified durations and/or objectives. He explores the limitation of (or the spontaneous navigation within) the sphere of his outstretched arms, considering themes of repetition, locomotion, refraction, and eventual exhaustion.

There are three different keeper of the conceptual score of each drawing that he does: body (his own body), plane (floor, or the wall or a piece of paper) and course (the conceptual score, which is the trace of movement — the print or impression of each idea).

He says that balance and symmetry became trusted passengers on his journey of extracting the subject out of the narrative. Also in this process, he notes that he was refining his sense of self inside of his process. Tony explored both quantum physics and the power of intention and within that, he redesigned and manipulated a new sense of reality.

He started in his mind’s space, saw the constructs on top of that and then thought about how he could redraw various architectures. He adopted a belief that through intention, he could alter the physical properties of just about anything.  Here is an example of one of his Penwald drawings.

 

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