ANTHONY VISCARDI

 
 

Lehigh University Department of Art, Architecture, and Design

Full Professor

[Department Chair 2003-2010] 







My current drawings continue my personal investigation of over 20 years into the phenomena of shadow mapping.  Although this series constitutes an artistic investigation on their own merit, these drawings are also instrumental as I formulate new theoretical precepts in the creative design process as to the forming and shaping of architecture.  I have consistently integrated these design precepts into my teaching pedagogy in my architectural design studios, starting in 1989 at Georgia Tech’s College of Architecture and continuing to the present at Lehigh University’s Department of Art, Architecture, and Design.  I am now a full professor and have been chair of my Department for over seven years.   I have produced a new series of “Shadow Maps” incorporating my earlier mapping techniques but using pencil on Mylar as my medium.  The drawings vary from approximately 3’ X 4’ to 3’ X 6’.  I work with pencil on Mylar in such a way as to allow my hand to smear the graphite in the process of drawing.  The graphite residue permits eraser, evoking new layers of clear Mylar that highlight against the complex pencil wireframe generated by the palimpsest of multiple shadow plays.  In my most recent exhibit at Gallery 245 in Buffalo, New York, I included digital media, sound, and dance in a real time collaborative art event.  This prompted further discussion on the suggestive influence of the shadow drawings and their power to generate new form. 


In my particular drawing methodology a “Shadow Map” is generated by tracing the sun cast shadows of an architectural construct as it is built over one day, thus creating a record of its own making.  Its composition is not form driven, but is a result of the collusion of space and time in an act of making.  The significance of the original object exists only in its role as the precipitator of its trace.  When complete, the object is dismantled leaving only a map of its former existence, the shadow of a day in a life and the potential for it’s re-construing.  In this form of re-iterative exploration, the map is used as a means to decipher three-dimensional casts of the shadow, physical constructs of its projections and trajectories, as well as interpretive palimpsests of drawings. 


 

                                        current creative research

                                      “Shadow Mapping”