Interview with Adriana Ionascu, editor of Drawing: Research, Theory, Practice
Intellect is delighted to announce the first issue of the new journal Drawing: Research, Theory, Practice. We caught up with one of the editors, Adriana Ionascu, and asked her about her subject and what motivated her to start the new journal. To find out more about the journal click here.
1.     Why do you feel it is important for Drawing to be considered a discipline in its own right?
Drawing has been and is a discipline in its own right, it acts as language and communication, and it is, by its nature, experimental, investigative and exploratory. It functions in different ways in such diverse fields of practice as science and technology, philosophy, anthropology, psychology, sociology, cultural studies and cognitive science, as well as fine arts (including graphics and visual communication, sculpture, the crafts), design and architecture.
2.     Where do your personal research interests and background lie?
My research is concerned with drawing as an interactive process and product, as a site of production, as 'visual literacy', a form of writing or visual narrative; as a model of representation, an investigative, descriptive or interpretive pursuit; a recording and communicative tool, an interactive and dynamic 'site of conception'; a performance, an aid to critical thinking and an interpretative medium.
I have been educated at a Fine Art Academy on the continental Europe, where drawing is part of every practice and the base for any creative input.
3.     What attracted you to the idea of editing an academic journal?
Quite simply the idea of collaboration and that of dissemination of diverse types of knowledge-s; and the fact that a publication could bring a diversity of practices related to drawing.
4.     Do you feel this journal will be filling a gap in Drawing research?
The ‘Drawing Research-Theory-Practice’ journal aims to promote and disseminate drawing research with a focus on contemporary practice and its theoretical context. In its printed format, this journal seeks to reestablish the materiality of drawing as a medium at a time when virtual, on-line, electronic presentation threatens to dominate the field of cultural practice.  The journal aims to provide a platform for the dissemination of drawing in all its forms and it will address a current need for a high-quality printed publication within the publishing field.
5.     Who’s work do you particularly admire?
Too many artists need to be mentioned here: from Leonardo da Vinci to Antonin Artaud and Rebecca Horn’s drawing machines, is a long list.
6.     What new areas of the study of drawing do you hope the journal will explore?

The journal aims to highlight the variety of approaches, specificities as well as commonalities of the forms and uses of drawing, to include drawing as method in art and design; drawing as a medium for representation or a tool for investigating and recording knowledge, as notation, as a model of thinking; as a vehicle for exploration, as production, reproduction and communication; its methods, tools and practices, approaches, theoretical reflections and applications. Thus, the primary objective of the journal is to expand scholarship by bringing together multidisciplinary expertise through a diversity of methods, knowledges, techniques and applications concerned with the study of drawing - alongside critical, philosophical, theoretical, traditional and cultural aspects of practice. 

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