Research findings, references and all material related to theory & praxis of the drawing method Wholly Drawing

Coming 2 Amerikkka(WIP)
This series of works emerges from my exploration of storytelling through raw materials and expressive forms. Using cardboard as my canvas, I embrace its imperfections—each crease, tear, and texture becomes an essential part of the narrative, shaping the imagery and deepening its resonance.
The figures depicted—indentured servants, slave owners, silhouettes, and bound bodies—occupy a charged space where history and personal interpretation intersect. Bold strokes and gestural lines evoke movement and tension, while fragmented layers of text suggest untold stories, inviting viewers to construct their own understanding.
This work transcends visual expression; it seeks to foster dialogue. The cardboard, with its unassuming familiarity, transforms into a stage where themes of power, struggle, and identity take shape. Each panel represents my journey of confronting and engaging with the history of the transatlantic slave trade—a tactile process of layering, observing, and responding to both the medium and the subject. The setting of production, with its exposed beams and unfinished backdrop, serves as an extension of the work itself, grounding it in a space of experimentation, reflection, and raw honesty.
I am currently working on writing a short story that places
Wholly Drawing in a familiar everyday setting.
The story takes place in a classroom, with an Art teacher
introducing Wholly Drawing as the lesson for the day.
Through this narrative, readers will be able to gain a
better understanding of the theory and process behind
Wholly Drawing. The story aims to delve deeper into
the subject and provide clearer insights. Additionally, it
addresses common questions or speculations about the
drawing process, offering a more comprehensive and
general explanation.



During the initial phases of the Wholly Drawing research,
a study was done on the brain to identify distinct regions
that are activated during engagement in observational drawing.
The primary focus of this investigation was to determine the
origins of visual impressions and their corresponding neural
mappings in the brain. Additionally, the study aimed to identify
the mechanisms responsible for generating involuntary
motor actions by the body in response to (an observed) stimuli.
Diagram illustrating the processes(mental) involved in engaging in an activity of drawing from an observation.

Self: The Brain(mind): The Eye: Motor-signal action: Will/motive: Desire: Sensation: Object/subject: Attention: Contact: Render: Reproduction of object image: