<p>Hi! I am @observer! ART - Student from BERLIN - I give you intimate insights into an ongoing process Pt. 2!</p>
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<p>As I started to get lost in the illusive qualities of my work I saw myself stuck in a narrow-minded perspective. I asked for something that goes beyond a technical-skill-question, and what I found was the strong emotional character in some of the drawings. But this used to become only visible when I drew people in real life instead of a photo. Real life means your personal physical presence creates a tension between you and the observed person. If he/she knows, you can actually feel it. </p>
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<p><em>But how to judge whether you are pursuing the right or the wrong?</em></p>
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<h1><em>Changing Perspectives</em></h1>
<p> At this point as I was sitting at home and drawing for hours. The more realisitc it got, the better it was. But wait. Is this realistic..? Is this reality? Isnt it just a plain copy of a copy (photograph) of something real? But what is real then? I realized I was trapped within my own built borders. But only because I could see them, I was actually able to overcome them.<br />
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  <li>Imagining a border from first persons perspective </li>
  <li>Imagining a border from third persons perspective </li>
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<p><em><strong>I stopped copying from photos to loose the ‘standardized’ hand and went for one year by the metro, drawing passengers. </strong></em></p>
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<p>In a technique where you have to be quick, you will minimize your equipment to its basic needs. By just using two means: a pencil and a paper, your sensual approach to your tool is incredibly rising. Eye and hand coordination become seamlessly fluent, and I became a part of my immediate environment.</p>
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<p><em>NOTE: I have never posted this content anywhere else. All works are created by me and not ripped anywhere, look at my first post to find evidence. If you liked what you have seen, please follow me for more and upvote ;-) Thanks!</em></p>