An Ekphrasis of John Hedjuk's Drawing 'Study for Wall House' Essays

An Ekphrasis of John Hedjuk's Drawing 'Study for Wall House' Essays

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This report is an ekphrasis of John Hejduk’s drawing “Study for Wall House.” Ekphrasis writings intend to compare and unite elements that may be physically visible and elements that may be more conceptual. This report will endeavor to visualize Hejduk’s drawing through the views of physical and metaphysical elements, to expose connections through visual and conceptual perspectives.

Located within the silent forest of special collections is Hejduk’s drawing, “Study for Wall House.” The temperature of the room is slightly over 72 degrees Fahrenheit, the perfect environment for precious architectural artifacts. “Hi There!” a voice surprises from behind, I turn swiftly as the graceful librarian slowly approaches with Hejduk’s drawing and model. At that moment, an array of luminescent light enlightens her essence and the essence of the artifacts. “Looking for these?” she asks. I nod my head as her aged hands firmly hold the framed drawing of Hejduk’s wall house. The ever-changing wrinkle pattern of her skin mimics the aging qualities of the drawing. As she gently rests the object on the hardtop table, you can hear the tear in the fragile fabric of the canvas. As the librarian returns to her office, I am left alone with this breathtaking object.

At first glance, Hejduk’s drawing presents itself as an act of childish gesture, with a simple and circular sun at the upper right corner and loose hatching styles. But as I observe the drawing closely, I start to identify peculiarity in the pattern and careful selection of geometries and colors. In an interview with a reporter, John Hejduk states “you can only get into something if you understand or are willing to.” My first task is not to create a descriptive narrative of the...

... middle of paper ...

...of the “wall-house,” one can integrate with the horizontal and vertical spaces.

On the lower left hand corner of the drawing displays another line of text, “the plane of present.” The “wall-house” not only integrates visitors with their surrounding through selective openings and tranquil qualities, it also conveys an essence of time. Hejduk states “the wall is the most present condition possible. Life has to do with walls; we are continuously going in and out, back and forth, and through them; a wall is the 'quickest,' the 'thinnest,' the thing we are always transgressing, and that is why I see it as the present, the most surface, condition." Hejduk states that walls are critical elements in people’s daily life. People interact, contravene, and transgress together with walls on countless occasions. Walls are a part of people’s social interaction.

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