The Porous Line
Bibliographic Data
| ID | 21974593 |
|---|---|
| Authors | JM Hogan (0000-0002-2538-6101, University of Tasmania, corresponding author) |
| Year | 2026 |
| Volume | 15 |
| Issue | 6 |
| Pages | 144 |
| Publication date | 2026-06-19 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Arts (JOURNAL) |
| Journal identifiers | ISSN: 2076-0752 • E-ISSN: 2076-0752 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/arts15060144 |
| OpenAlex | W7165179526 |
| Language | EN |
| References cited | 9 |
The Porous Line is a drawing inquiry that uses materials and processes to engage in a dialogue with a suburban ecosystem. I follow the physicist David Bohm’s proposal to use dialogue as a mode of engagement where habitual modes of thought are suspended, a form of non-judgmental curiosity. I reflect on how immersing a large roll of French imported paper in my everyday environs reveals the porousness between nature and culture. The binary separation of nature and culture has undergone significant criticism as we deal with the climate crisis. As a foundational medium within western art and thought, how can drawing communicate this growing ontological shift? The essay engages in dialogue with Yolngu art from Yirrkala as a guide on what an ecological art practice entails. Their commitment to work with what ‘country’ provides has resulted in innovative and thoughtful new works. In response to propositions seen in Yolngu artworks, this essay engages with place, materiality, and relationality through the process of merging line and ground, the fundamentals of drawing, physically and conceptually. I reflect on the challenges that need to be addressed within western ontologies to develop an ecological approach in drawing
Criticism · Ontology · Art, Politics, and Modernism · Ecocriticism and Environmental Literature · Posthumanist Ethics and Activism
| Highly cited | No |
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