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How do you record an exhibition that hardly anyone has seen because of lockdown? Art on Display 1949-69 featured fragments of historical exhibitions, focusing on the relationship between the spatial design, the artworks and the public. What if we enlisted an illustrator to visualize the public interaction with the exhibition that was barely possible because of the pandemic? These were questions by HNI and the illustrator was me.
I researched the exhibition with the museum all to myself due to the pandemic regulations.
From these observations, the drawings became a personal interpretation of the exhibition — a transformation rather than a record.
And as I drew, something else appeared to me: the exhibited objects themselves seemed to have relationships with one another. They began to speak across the space, creating new connections beyond the presence of the visitor. Invisible Lines — that simply had to be the title of this series.
During the pandemic in 2022, the drawings offered another way of bringing attention to the exhibition. Shared online, they became a way of inviting people to discover and imagine the exhibition from a distance.
The result is a visual archive of the exhibition: not a documentation of what was there, but an exploration of what could be felt through drawing.