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Play The Panorama

Panorama drawing

Pamela Enz

"FROM - A Woman Born as an Assemblage of Pencils for Hands" The title of Pamela Enz's contribution to the New York City panorama describes how her life long obsession with drawing made her feel long before she understood what being an artist meant. She does not remember a time where she was not drawing on any and every surface, with any possible implement, every day.

Pamela Enz discusses how she played the panorama instrument: “I had a journey of discovery, first with scale and then with gradually letting go, continually freeing myself to let the panorama choose where it was going even as it was disappearing from view. There were many feet and mysterious animals amongst the dancing paws, hoofs and tap shoes that appeared. I also wove excerpts from poems into the work-- some are mine and some are written by others. I have not seen the last few inches of my panorama for a while and I am excitedly looking forward to seeing what words I chose to end it with when it is connected to Erin Diebbolls work."

Pamela Enz,  Woman With a Seal on her Head and god in her Ear

Pamela Enz creates multimedia work with words, her body, ink, oil, and photos. Striving towards an insight into space and being that doesn’t line up with the shorthand of everyday vision she aspires to zoom past the representational into the realm of poetic realism.

Panorama drawing

Erin Diebboll

Pamela Enz chose Erin Diebboll to continue the Brooklyn panorama as she has long admired her for her unique, intelligent and provocative style of drawing. In addition, Pamela was pleased that she would be using Brooklyn where they both live and enjoy much walking as inspiration.

Erin Diebboll: “The drawing follows my daily walk home to my apartment. Working from memory and some help from Google Map's 'street view'. I drew each building and empty lot, fence and wall that bordered my route. As I draw, I imagine myself physically moving along the sidewalk. I am inside the street space, buildings spring up on each side of me, mimicking the way we 'look around'. Our eyes can easily shift from macro to micro, in one instant comprehending a building as one entity and in the next zooming in to examine each brick independently. Our minds make similar 'wholes' out of complex systems even when it's physically impossible to see all of its components at once.

I found it interesting that the process of drawing using the panorama instrument does not allow you to see your entire drawing at one time, only a small section. This is similar to the way we move through the streets, never able to view our entire route, digesting it in bits and pieces, even though we may imagine this journey as a singular event."

Erin Diebboll

Erin Diebboll
Thirty Years (detail), pencil on paper, 2010