Extensions is part of a series of four ‘tables’ of drawings selected and grouped by the artist on the basis of a similarity of theme or form, even though they were made at different times and in different contexts. These four groups date from 2011, from a moment of taking stock and putting in order a disperse corpus of drawings, a body of material that Dauder wanted to revisit. These are Plexiglas boxes, designed so that the drawings can be shown both vertically and horizontally.In the case of the set entitled Extensions we have six pictures taken from notebooks, drawings that were made without any specific purpose or as preparatory drawings for other pieces. In all six there are overlays, planes and layers. There is a desire to get down to ground level or to follow some horizontal, while the diagonal perspectives give a sense of escape, of movement. They could be drawings of architectural or urbanistic fictions in which the aerial view gives a sense of group affinity. These landscapes are evocative imaginary rather than descriptive and closed: subtle and complex drawings that do not disown their strangeness. In fact, for all their pseudo-architectural appearance they are drawings done from intuition, very free, and it was only subsequently that the artist found links between them.In Extensions the drawings evoke the tradition of utopian architecture and town planning and its basic typologies. There are links to the avant-garde and to pre-Columbian cultures and other vernacular traditions. They also evoke archaeological strata, in the manner of ‘negative’ constructions, dissections of imaginary plans and structures that make visible the layers with which the drawing is built up and suggest other potential forms, like ‘an architecture it ceases to be architecture’, in the words of the artist.
These are drawings done with a pencil, at once defined and unconcluded: a practice, that of drawing, which for Dauder is a parallel process, often on the fringes of the larger finished pieces. Drawing is a more primary exercise, out of which latent or buried aspects arise and are released. Drawing is experienced as an activity that is necessary for the creative process to take its course, to order impulses, to distil and visualize, from close to and from a distance, to study and reflect, even if the resulting compositions often have no specific function or destination. Some drawings are spontaneous and fast, others slow and worked on in different phases.
In the last analysis, the mystery posed by these drawings is the ability of the artist’s hand to be a channel of transmission and a translator of retinal impressions, of traces of memory, of the unequal accumulation of memories. By means of drawing, these elements may surface again in new configurations, transformed by their more or less prolonged passage through the neuronal circuits. New figures and images emerge, which in turn feed new cycles of perceptual impressions and assimilations traces that will be translated into who knows what new configurations by the hands of who knows what other artist. The fact is that when all is said and done we are pieces in a great chain of transmission of which the drawing is an occasional record, a link that fixes an instant of this tireless dynamism.