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From 1974 until 2014 the British Artist Roger Ackling made drawings on found pieces of driftwood by using the sun’s rays focused through a magnifying glass. This research article discusses the contribution Ackling made to charting an ontology of drawing through a practice of stillness. By employing this method, he provides an original contribution to the knowledge base of drawing that values ephemerality and lightness through phenomenological bracketing. An evaluation is provided as to how Roger Ackling dwells upon and makes subject the precise moment of making in drawing.
Dean Hughes (Mon,) studied this question.