After the jury it becomes clear that the focus of the project needs to be shifted from the object to the miniature.
The key question is now in what way can the miniature wipe out the importance of the object?
One of the main aspects that I want to investigate is the idea of the threshold, which can become the apparatus through which I can maybe make the object irrelevant.
I started looking at more references from different cultures, to understand how space is organised within them and how it can affect the reading of the image and what is inside it.
The Samsara image (1) shows a clear hierarchy of elements, expressed through a centrality of the drawing, focused on the centre.
Other Persian miniatures, like the one depicting a camp scene (2), limit the spatial apparatus of walls/windows/doors to a bare minimum. The setting is a camp, therefore its architecture is made out of textiles, which have patterns on them and fade together with the figures and the ground.
I also started looking at annunciation paintings, where the threshold between the sacred and profane worlds is always spatialised. Classical representations almost always feature a strong element of separation between the two parts of the drawing (3). In Leonardo’s the threshold is changes from a column to a desk, symbolising a more direct relationship between the two worlds. The real threshold happens in the background of the painting, where a distant landscape gets cut by a middle ground element, the tree, which also cuts the foreground element of the house.
I also started looking at polyptychs, particularly how the thresholds between the different parts become solid objects, now transcending the painted matter itself.
I started to look back at my own drawings, trying to understand better the thresholds between the perspectives/worlds, and how they can be made better. I would like to focus and make drawings that address the threshold in a more direct way. The objects would still appear, but would be no longer important, because they don’t really define the way you can read the drawings.
The language of the object is used, but in a misleading way, which is no longer the key to read the drawings.