Locomotion — Cognition I examines navigation through the relationship between projected direction, lived movement and bodily awareness. The series developed from the experience of sailing and the body’s continuous engagement with wind, current, balance and the shifting horizon.

On a navigation display, a straight course line extends ahead of the vessel towards a destination, changing with each correction. Behind it, the route already travelled appears as an irregular line shaped by the forces of the sea. Both lines meet at the vessel’s present position: a point continuously recalculated through movement.

The drawings take this meeting as their structural principle. Thousands of individually applied ink points form elongated fields that taper towards a narrow centre and extend in opposing directions. One section indicates the projected course; the other develops through deviation, adjustment and accumulated movement. Variations in density, rhythm and interruption transform a cartographic structure into an extended process of drawing.

This understanding of the line recalls Tim Ingold’s observation that “Life will not be contained, but rather threads its way through the world along the myriad lines of its relations.” In the drawings, direction emerges through the relationships that continually shape and alter movement. Proprioception, the body’s awareness of movement, resistance and balance, operates alongside the navigational instrument. As Barbara Belyea observes, “The gesture becomes part of the map” (1996, p. 6).

The central point remains suspended between intention and experience: the course imagined ahead and the path formed behind. From this point, the drawing unfolds as a continuous negotiation between instrument, body and environment, bringing projected direction, embodied presence and lived movement into the same field.

Coastline, 2022
Hand-drawn ink on paper
72 × 48 cm