I’d also venture that an attempt to define drawing as a medium, to delineate its essential characteristics, would not result in the kind of agonistic discourse in which painting embroils its practitioners and critics: maybe head-scratching détente or giggling free association, instead.
Drawings, historically, were made in the service of realizing other works—paintings, sculptures, architecture. Now drawings may also lead to performances or installations, films or videos. Drawings were and remain studies, sketches, notes, plans.....
My relationship to drawing is intensely bound up in having given up painting about five years ago, subsequently focusing exclusively on the former. The switch triggered an avalanche of previously blocked content: stories and histories, fears and desires, small and big ideas. I concluded that painting’s voice is too loud, drowning out the sound of virtually everything else. The voice of the artist typically provides 1% of the content for any given painting. The remaining 99% consists in painting talking ceaselessly about itself: its history, materials, conventions, the current state of the field, etc. I hated painting for a while, the way one sometimes experiences grief over a failed romance as strong dislike for one’s ex. Now I realize that we weren’t matched well, we wanted different things. I’m fine now. Drawing is my boyfriend.