With Cave Drawing One, I attempted to replicate the circumstances experienced by early cave artists. The drawing, completed in charcoal, is a print derived from Brakhage Scroll. The fifty-foot scroll was pressed against the wall surface, leaving vestiges of the original marks.
The resulting work elicits multiple points of access. On the surface, it is a study in basic mark-making, using line and the flow of the maker to result in multiple patterns of overlapping charcoal. In addition, the work, similar to cave art, is at the mercy of the spectator. The conditions of the piece permit for alterations by the passing viewer (as can be observed in the documentation). The modifications, which were encouraged by the artist, diminish the importance of the drawing as an object of value.
On another level, the work is purposely ephemeral. In contrast to found cave art, which is often sealed as an act of preservation, Cave Drawing One was permanently removed at the conclusion of the exhibition. With the exception of a one-week viewing, installed in December of 2012, the physical work has been erased from history. Like so many works of art, this temporality questions the necessity and significance of material preservation.