Abstract

Drawing in relational mode emphasises process and tends to be propadeutic, incomplete and provisional. It opens boundaries for interdisciplinary visual arts practices and entails the mapping of points in space deployed through locational mapping strategies involving bodies-in-action. The translation from ideas to open-ended materialisation is crucial to relational drawing. Three case studies are presented and analysed. The projects involved play out in particular contexts in Aotearoa New Zealand where they have geopolitical and pedagogical implications. On the periphery of centres of visual arts production, the projects make their own respective impacts and undermine claims to universality within the larger arena of contemporary visual arts production in the world. Through the provisional register of their relational drawing registers the projects enable ongoing negotation through collaborative action and communal learning.