Charcoal Intensities and Risky Experimentations

Abstract

Materials, objects, places, and environments are inextricably bound to experimentation. In this regard, Gilles Deleuze helps us see encounters of materials, objects, places, and humans as part of the flow of experience. In his view, we are never separate from the world; we are made up of relations; thought creates itself through encounters. For Deleuze and Guattari (1987), thought is experimentation. Stories are told through it, forces are harnessed, and roles are performed.

The children excitedly enter the studio and gather around the long tables covered with white paper. The chairs have been pushed away against the wall and a range of charcoal pieces have been set out inviting various compositions, movements, and collaborations. The group of four year old girls begin by making marks on the paper. As they draw the charcoal travels, spreading over the paper, covering fingers and hands; paper and skin receptive to its soft blackness. It moves between paper, fingers, hands, arms, and face, moving faster and more intensely as it becomes more noticeable what this charcoal-drawing can do.

As the events unfold charcoal becomes make-up and the children become black princesses, ride the bus to the castle, and anticipate dancing at the ball. They play with ideas of blackness, darkness, covering, hiding, concealing, being seen and not seen, becoming unrecognizable and unnoticeable, and they wonder what their mothers will say, expecting them not to notice or recognize them when they come to pick them up at the end of the day. Charcoal, child, Disney, princess, adventure, desire, anticipation, blackness, and un-recognizability play together in this charcoal-drawing game.

One girl with red hair dances in front of the camera, asking intently “Can you notice me? Can you notice me?” A little while later the rest of the children gather around asking for their photos to be taken, and take turns posing for the camera. Most of the photos are out of focus, as they can’t seem to stop moving, but the girl becomes still. There is a pause as she looks directly at the camera’s lens and momentarily assumes a serious expression. The shutter clicks, rendering a relatively sharp image and she runs away while the educators wonder how to step into and intervene in this intense charcoal-covering-blackness-princess eruption.