Of Dash gesture

the line as a deviation in the experiment

Abstract

This article proposes a theoretical-reflexive investigation on the line as a manifestation of gesture and as a constitutive element of graphic experimentation in the teaching and practice of drawing. The main objective is to resignify the line beyond its technical or descriptive function, conceiving it as a sensitive, procedural and dynamic form. The research problem emerges from the observation that traditional pedagogical approaches tend to restrict the line to an outline, a normative, predictable and rigid trace; disregarding its expressive, subjective and poetic powers. The methodology adopted is qualitative and bibliographic in nature, anchored in the contributions of Wassily Kandinsky, especially regarding the expressiveness and inner resonance of the line; and of Tim Ingold, who proposes a conception of line as a thread, path and extension of the experience lived in the world. To enrich the analysis, are also invoked the works of Michael Martin and Fayga Ostrower, which offer visual and conceptual foundations on the role of the line in the configuration of space, time and movement in visual language. The results show that, when understood as an extension of the gesture, the line allows for deviations, ruptures and rhythmic variations that break with the representation patterns. This approach favors a drawing pedagogy that values ​​the process, the diversity of strokes and the poetic emancipation of the line. It is concluded that the reinterpretation of the line as a visual language in constant transformation contributes to more inclusive, subjective and open pedagogical practices to the plurality of graphic gestures.

Keywords: deviation; experimentation; gesture and stroke; expressive line; drawing pedagogy.