PATRICK TRESSET
DRAWINGS & PAINTINGS PATRICK TRESSET
PATRICK TRESSET
DRAWINGS VANITAS 4 NUDES 10 ROBOTS 16 CLASSE PREPARATOIRE 23 PAINTINGS ROBOTS HUMANS
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There is often a misunderstanding about the aims of my works with drawing robots. Often it is thought or written in articles that my objective is to get the robots draw like humans. Meaning in this context for the drawing would be to be indistinguishable from a human made drawing. In reality this has never been my aim. I consider that the consequence of having such an objective would be only to have systems capable of producing pastiches rather than drawings true to the system. By true to the system, I mean drawings whose style is influenced and shaped in part by the robot’s characteristics. A robot has a different perceptual system, memory, a different morphology: electrical motors are not muscles, computer vision has very little relation to human vision, etc. the drawing style should be the result of these traits. The aim for my drawings has always been for them to act on the viewer in the same manner as a handmade drawing would, rather than getting a robot to produce drawings mimicking the appearance of a handmade drawing. The drawing has to work both as a representation of the subject and as an ensemble of lines which interplay acts on the observer to trigger a rich perceptual and aesthetic experience. When we see the oldest human marks, the ochre engraving from the Blombos caves, they do not amount to much, few geometric traces, zigzag, parallel lines, criss crosses, etc. When looking at marks engraved on these pieces or rock, immediately we know that someone has made these traces, and that this individual has a similar awareness of what he was doing, that he deployed the same decisions and actions as we would. This phenomenon exists in relation to any manmade object, but when we see an axe, pottery, a building, or a sculpture, we perceive that conscious human processes have been involved in their production, but it is remote as it is unlikely that we would be able to reproduce the processes that have been deployed. Most people can not understand ancient writing, with drawing there is a stronger element, we could all have done this, everybody has made a mark, or made a movement to leave a trace. This trace becomes a physical memory of a movement, of the decision to make this motion with almost no intermediary. When the paintings in Lascaux caves were discovered what were considered our distant almost not yet human predecessor became our ancestors not that far from us. In my artistic practice in general, and in Human Traits exhibition in particular, I deal with gestures and movements that lead us to trace the humanness embodied within these acts.
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What elements contribute to a drawing working as a drawing? The recovery of the artist’s intention is often put forth as a decisive element in an artwork’s appreciation. However generally only overt high level intentions are considered. Researchers such as Alessandro Pignocchi hypothesized that not only the high level overt artist intentions are perceived by observers and influence the observer’s appreciation of an artwork, but also all covert intentions and decisions which have contributed to the artwork’s production have an influence on observer’s appreciation of it. This is even more present in appreciation of drawings as the marks on paper are a direct representation of the artist’s movements/actions/decisions. The drawing becomes the memory of the succession of decisions and actions, performed by the artists during the drawing’s execution. These actions get the pen to physically drag on the paper leaving a series of marks in which are encapsulated the velocity, dynamic and pressure applied by the artist’s whilst drawing. If we consider this as one of the main elements which contributes to the perception and appreciation of a drawing as a drawing, we can then bring a number of elements which contribute to drawing being perceived as a drawing. These elements comprise authorship, perception, movement, decisions, physicality, agency, intentions, time, and history. To produce drawings which work as drawings some of these elements have to be present in the system, since its characteristics have a direct influence on the style and how it will be perceived. The embodiment of the computational system in a robot enables the ability to sense and act physically on reality, to have behaviours. By “behaviour” I mean a system which actions are based on sensations (in our case visual perception, and proprioception). Actions which are reactions to what the robot perceive are executed as gestures by the arm controlled by what be equivalent to proprioception. The slight physical compliance of the arm enables the marks to have characteristics linked to the velocity of the movements. At a higher level the system applies an hardcoded technique which could be considered a strategy. The embodiment of the computational system in a robot enable its identity as an author. As human we can not help but perceive robots as having agency especially if they look at us and have actions that we feel affinity with. In a certain manner when we are spectator in front of a show in which muppets act, we can not help but think that they have a life, the same is true when we are in front of robots.
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VANITES
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Vanité, PaulIX, 24 x 32 cm, ink on paper, 2014
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Vanité, PaulIX, 24 x 32 cm, ink on paper, 2014
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Vanité, PaulIX, 24 x 32 cm, ink on paper, 2014
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Vanité, PaulIX, 24 x 32 cm, ink on paper, 2014
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Vanité, PaulIX, 24 x 32 cm, ink on paper, 2014
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NUDES
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Stephanie, PaulIX, 24 x 32 cm, ink on paper, 2015
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Stephanie, PaulIX, 24 x 32 cm, ink on paper, 2015
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Stephanie, PaulIX, 24 x 32 cm, ink on paper, 2015
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Stephanie, PaulIX, 24 x 32 cm, ink on paper, 2015
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Stephanie, PaulIX, 24 x 32 cm, ink on paper, 2015
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ROBOTS
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Astro Boy, PaulII, 24 x 32 cm, ink on paper, 2015
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WallE, PaulII, 24 x 32 cm, ink on paper, 2015
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C3PO, PaulII, 24 x 32 cm, ink on paper, 2015
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Robby, PaulII, 24 x 32 cm, ink on paper, 2015
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Pinocchio, PaulII, 24 x 32 cm, ink on paper, 2015
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Goldorak, PaulII, 24 x 32 cm, ink on paper, 2015
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CLASSE PREPARATOIRE
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"O" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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"I" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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"C" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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"I" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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"U" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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"Ch" from "Méthode Boscher ou la Journée des tout petits", Pauln, 29 x 42 cm, ink on paper, 2016
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"R" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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"P" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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"O, A" from "Méthode Boscher ou la Journée des tout petits", Pauln, 24 x 32 cm, ink on paper, 2016
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Crash, after a detail from "L'affiche: Accident violent, prevention routière a' l’école primaire, cours préparatoire", Pauln, 24 x 32 cm, ink on paper, 2016
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Crash, after a detail from "L'affiche: Accident violent, prevention routière a' l’école primaire, cours préparatoire", Pauln, 24 x 32 cm, ink on paper, 2016
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Crash, after a detail from "L'affiche: Accident violent, prevention routière a' l’école primaire, cours préparatoire", Pauln, 24 x 32 cm, ink on paper, 2016
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Page from " La mathématique des petits", Denise et Polle, Pauln, 24 x 32 cm, ink on paper, 2016
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Table de multiplication, Pauln, 29 x 42 cm, ink on paper, 2016
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PAINTINGS
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ROBOTS
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Nao, PaulDavid, 25 x 30 cm, acrylic on canvas, 2015
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C3PO, PaulDavid, 25 x 30 cm, acrylic on canvas, 2015
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Goldorak, PaulDavid, 25 x 30 cm, acrylic on canvas, 2015
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Pinocchio, PaulDavid, 25 x 30 cm, acrylic on canvas, 2015
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HUMANS
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Paul's memories #0
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Man, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Woman, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Woman, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Woman, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Woman, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Pauls memories #I
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Man, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Man, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Man, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Man, PaulDavid, 20 x 25 cm, acrylic on canvas, 2013
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Pauls memories # II
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Man, PaulDavid, 25 x 30 cm, acrylic on canvas, 2013
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Woman, PaulDavid, 25 x 30 cm, acrylic on canvas, 2013
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Woman, PaulDavid, 25 x 30 cm, acrylic on canvas, 2013
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Man, PaulDavid, 25 x 30 cm, acrylic on canvas, 2013
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