Op Metal Drawings

Leonardo, Vol. 4, pp. 149- 150. Pergamon Press 1971. Printed in Great Britain OP METAL DRAWINGS Henri Gabriel* The technique of drawing has, for the most part, stagnated for a very long time in sterile academism, afiabby, depreciated academism. Drawing teaching methods are still mainly in the hands of ageing art teachers and officials. These consider themselves to be doing their duty by upholding the art of drawing in accordance with traditional methods. Clearly, they scrupulously adhere to programs dictated by a school of drawing that is far behind modern art trends. Fixed art curricula have always been a problem. There are numerous artists who have entered the teaching career with new ideas, only to be overcome by senseless, insipid and demoralizing directives. How many teachers have quit their jobs, cutting off their vital income, in order to free their minds and spirit before becoming hopelessly embittered with art? Certainly the recent violent protests ofstudents that have shaken the world tend to bring into question prejudices, traditions and the passive •Artist, living at rue Masui, 121, Bruxelles 1000, Belgium. (Received 24 June 1970.) (Original text in French.) acquiescence to times past. Many professional artists are participating in the movement. They want their creative works to be held on par with the aspirations and achievements of scientists and engineers intent on their research in physics, chemistry, mechanics, cybernetics, electronics, philosophy, nuclear energy, cosmology, etc. I have been attracted for a long time by the new materials and novel techniques made available to artists by technology. During the past few years, I have been making pictures, sculptures and mobiles that reveal this preoccupation [\]. Then I began to dwell on other problems and, in particular, on the creative aspects of drawing. Some might object by saying that this is a minor art compared with other media. But I believe this is not true, drawing can playa role of prime importance in giving aesthetic satisfaction. The time has come to confer again upon drawing the credentials of nobility it warrants. A direction that drawing can take involves the use of light effects on engraved metallized surfaces. The coldness of the surface can be transformed into glittering brilliance, rivalling that of precious stones. Fig. 1. (a) and (b). 'Carre', Op metal drawing, aluminized paper, 50 x 35 cm, 1970. (Photo: Durieux, Brussels.) 149 150 Henri Gabriel Fig. 2. (a) and (b). 'Triangles', Op metal drawing, aluminizedpaper, 50 x 35 cm, 1970. (Photo : Durieux, Brussels.) I call this medium and technique Op Metal Drawing (Op Graphic Metal). My first ones gave me a sense of exaltation and encouraged me to continue. I felt I had entered another world. Yet a scruple remained- was I to turn my back on my earlier work? Certainly, one does not make a drawing in the same manner as one paints a picture or forms a sculpture. But I quickly sensed that the same attitude and outlook I had before was guiding me and that the drawings were consistent with my manner of expression in other media. Op Metal Drawings are engraved on metallized paper. Op refers to the changes in appearance of the drawing that occur with the angle of incident light. The drawing is made with a hard pointed metallic tool and demands the greatest of care. The smallest deviation of a line or the slightest variation in its depth may irreparably ruin the whole drawing. I have used paper metallized with aluminium and zinc. I first make a sketch in black lines but without making an impression on the paper. The surface must remain clear and free of all unintended lines. Lines are then engraved over the black marks with the metallic point, defining areas. Within some ofthe areas I rule lines one to two tenths of a millimetre apart. The sides of the indented lines reflect light differently from the flat metallized surface, as can be seen in Figs. 1 and 2. A slight movement of the head causes the eyes to see a change in appearance of a drawing. The great change in appearance that can be observed is especially evident in Fig. 2. The reflective character ofanyone area is determined by the direction of the...