Root Event

werkleitz Biennale 2006 Happy Believers
RO 2006

My drawings look spontaneous but are not.
For each project I draw 2–3 note-books. In each notebook I do 150 drawings. Out of 150, I select 30 to be transferred onto the wall. From the 60 new drawings 5 will enter the repertoire. The repertoire drawings are the drawings that always fit the universal stuff. Everybody will understand them, like them, rely on them. I re-draw them for new circumstances. Redrawing new drawings. Sometimes they constitute the majority (if the situation is not challenging enough, I do not have time or I’m implying too lazy). Other times they create the structure for new images to be taken in. The repertoire drawings are my stabile factor. The rest will go away as the stories that generate them go away. Some of the drawing I did is incomprehensible to me now. I forgot the plot, I forgot the names. I don’t know what all is about.
A new show will generate 20% of the next show, and so on. Permanent black marker, white chalk, delicate pencil, floor, walls, ceilings, windows, newspapers. … I keep moving drawings from one context to another. Same images different audience. A new wall drawing to be made here, another to be repainted there. Lyon on, Paris gone. Goodbye Lisbon, welcome Santiago de Chile. The repertoire is vague and virtual. Fresh drawings enter, old drawings fade away. A sort of vocabulary of the memory.
If I can remember I talk.
Dan Perjovschi

Dan Perjovschi, RO 2006, wall drawings 
Courtesy the artist