Interview with Claude Parent,<\/p>\n
In 2009 i asked two former interns who were now developing their own work in Paris as well as directing ocassional research at the paris office of labDORA to set up an interview with Claude Parent, this was Marie Corbin and Nathanael Dorent who started the conversation with him.\u00a0 Leah Sattler also contributed a lot of research.\u00a0 The interview comes from a number of angles, but mostly its concerned about drawing<\/p>\n
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phote marie corbin<\/p>\n
excerpt<\/em><\/strong><\/p>\n “MC : So, for you, drawing is not an object of aesthetics, but an object of work ? translated by marie corbin<\/p>\n
\nCP : Yes. Totally.
\nPM : But in architectural history, there are moments in which the practice of drawing has
\nchanged architectural movements.
\nCP : That\u2019s true. I have to say today I only do drawing. I have let myself drawing without
\ncontrol. I left the imaginary, the dream, and the fantasy take over me. People like Fr\u00e9d\u00e9rique
\nMigayrou say that. Since the \u201cfonction oblique\u201d, I am linked to a deep theoretical body\/language.
\nI have a skeleton to work from. The \u201cfonction oblique\u201d has limited and extended my field of
\nimagination or work for the past 40 years. More recently I found my previous ways of drawing
\ntoo slow; so I started using India ink, like Japanese artists but without replicating Japanese
\nthemes. I am currently working on very big drawings, which will be exhibited\u2026 I find this
\nmethod more instinctive. To become more instinctive, I use two mediums these days: pencils
\nand India ink.
\nI also have trained to make small drawings without thinking. I try to draw a random form. So I
\nhave about 50 drawings of this kind\u2026 I really like them. I try to see if I could find a drawing in
\nthese random lines\u2026”<\/p>\n