After the class i gave for the IDOCDE meeting, in Stoltzenhagen "The two side of touch + drawings feedback environment", I made a video interview of several participants. I was curious to know how they where translating their tactile experience into drawing , if they had a strategy and  if they could describe it to me. Here is Li-Li Cheng interview in french .

You can read the description of the class and different perspectives about it in this folder :http://www.idocde.net/folders/15. It gathers several documents about "the two sides of touch + drawing feedback environment" .

Li-Li Cheng: I was concentrated on a very small corner, it was a beam. And when I was inside, I felt that a half of that place was black. There where a lot of cuts and a big hole.So if you look carefully, I have the impression that the drawing is blacker, darker at this moment. This made me think about death. In the contrary, the other side was very safe, I could put my weight on it.

To make the drawing, I was in the tactile sensations; when I was touching, I was noticing my sensations in order to use them to make the drawing.Some images where popping up, but not much. I was sensing this beam with my hands and was trying to use these sensations to draw.

(She shows a detail on the drawing ) And there is a very small part here. It was the only moment that my eyes where open. And I saw little things like that on the beam and paradoxically my eyes where open and I found it really soft. I could see details here, some very small like that. There was a little piece of string that was moving like that, I kept one eye open. But with my eyes closed, I had much stronger sensations, and that is why the drawing takes a lot of space.

When I was drawing the most recent memories where there first and sometimes I had to stop. Then older one could emerge. It was a bit like going backwards.

I would have like to have a brush, another material to make a softer drawing; And here with this hard pen… you see (showing the drawing) these are little more secrets parts. I wanted them to be very soft but I could not make it.This, I wanted it to be a super soft thing.

I felt that i was more  focussed when i was drawing.

A.LL : ah yes ? than when you were exploring ?

Li-Li Cheng: yes

A.LL: is it what you mean ?

Li-Li Cheng: yes

A.LL: that's interesting, and do you know why ?

Li-Li Cheng: may be because, i was looking for memory, so i was more 'inside' than when i was touching.

A.LL: may be also because it is less known for you to draw...

Li-Li Cheng: may be... While looking at the drawing, I have found back the journey I have made with the beam and at one point,  a choreography came up in my  head.

A. LL : When you looked at the drawing

Li-Li Cheng : Yes, the framework of choreography, not the movements but the framework

A.LL : under which form? More like different states ?

Li-Li Cheng :  yes, states.

A. LL: movement qualities?

Li-Li Cheng : yes, as it was a journey, because for me it was a journey. I have passed through the black in the cliff, falling off the cliff, I was in the mountains. And then I arrived in a place where I could find support and put my weight on. So when I saw the drawing and this choreographic framework, it was a little bit surprising.