Jordin Isip | Ten Hour Drawings

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Devising a plan to create a 10-hour drawing each week for an entire year, Jordin Isip explores this self-imposed concept, which ultimately evolved into an extensive meditation and record of his journey in making art within a structured time commitment. For him, the act of drawing became a meditation on time, perception, and technique, compelling him to pay close attention to various aspects of drawing, including mood and obsession.

It began in 2024 when the idea was introduced by a friend: starting at the beginning of the new year, dedicate 10 hours each week for a year to drawing. What appeared to be a simple task turned out to be a complex and nuanced venture for Jordin, who had to find the time between his own professional work and other interests. His initial forays began with digital drawings on his phone during “dead” time– on subway commutes, at concerts while waiting for the next band, or while lying in bed before falling asleep. But later on, he went back to traditional methods and tools and proceeded in making tangible and actual drawings which demanded moments of focus and attention, as well as commitment to spend time just meditating and drawing.

He describes his devised structure in this way:

“Each drawing session consists of 10 hours [of drawing], divided into 10-minute intervals, with notifications from my phone’s alarm. A new line or circle is added at each alarm. I began by experimenting with simple shapes- horizontal lines and circles, on 12" x 9" sheets of polypropylene paper using a graphite mechanical pencil. The first drawing focused on horizontal lines, while the second centered on concentric circles radiating outward from a central point. Each week, I alternated between horizontal lines and concentric circles.” (Jordin Isip)

As the series progressed, Jordin introduced variations: using his non-dominant hand, drawing without his glasses, drawing with eyes closed, and even combining lines and circles on the same sheet of paper. He added these specific variations as experiments to keep the process dynamic and engaging. The act of drawing became a meditation on time, perception, and technique. This self-imposed structure compelled him to play close attention to the physical aspects of drawing: the angle of the pencil, hand position, the weight of the line, the direction of the light and shadows, his stance, his own breathing, and how his whole body interacted with the paper.

This dynamic becomes evident in the drawings. Every drawn piece becomes a marker for a specific experience, a record. They highlight repetition and even embrace imperfections, and are viewed as essential elements of the process rather than failures. The mood, energy levels, and physical comfort at any given moment influenced every line Jordin made, creating a unique narrative within each piece. But as a whole, the show is a testament on how the notion of time can affect and coalesce with one’s own psyche and way of art-making, especially when the social structures that come along with ‘free time’ come into play. It is as if to say that the concept of art could also be an appointment we only allow ourselves to make.

The exhibition showcases the first 33 drawings to illustrate the development of Jordin Isip’s technique and thought process throughout the year. Each drawing not only marks a passage of time but also reflects the artist’s evolving artistic practice. Each piece serves as a testament to the interplay between structure and spontaneity, highlighting how creation within the constraints of a fixed framework can lead to a profound exploration not only of art but also of the self.

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/CLJ

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