Sidney Pink is an American intermedia artist with a focus on drawing, dance, and sound. His drawings investigate mark-making as it relates to embodiment, space, and atmospheres. Pink collaborates with dancers, musicians, and sound artists to create installations, performances, and interactive events.

Pink's work has been presented by the Baltimore Museum of Art, Baltimore Independent Dance Artists, Draw to Perform in the U.K., and The Peale Center for Baltimore History and Architecture. Pink has exhibited his work in New York, Los Angeles, Baltimore, Amsterdam, Tokyo, and Berlin. He Co-founded AKIMBO, a festival of site-specific dance and movement art that ran from 2012-2016 in Baltimore, Maryland.

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My interest in drawing started with floor plans and architectural drawing that I explored as a child and studied in High School. I was both enthralled by the quality of line on the paper, but also the potential of drawing to represent spaces and places. After studying dance and performance, I became interested in the relationship between drawing, embodiment, and the atmospheres of spaces.

In recent years I have been investigating dance notation, experimental scores, drawing-as-performance, and somatic practices in visual art. My practice of drawing relates to a lineage of mark marking, movement, and ephemeral art practices that has been explored by artists since the 1960s. Cornelia H. Butler, an art historian, once wrote, “One of the great discourses of the last century, meandering yet persistent, is that between dance and drawing.” My research is focused on how the practice of drawing continues to be a tool for performative events, but also how embodiment has always been central to drawing itself.

Tim Ingold explored the relationship of body and line in his seminal book, Lines: A Brief History. He stated that the human relationship to the physical world, in time and space, was one that created “a multitude of lines, both intentional and unintentional.” Often, these lines become a framework for how we understand, interpret, and give meaning to the human experience. It can also have direct impacts on how we live our lives. The political implications of lines are abundantly clear when we look at state borders, voting practices, and migration polices. My current interest in the somatic potential of line is focused more on a personal experience of embodiment. This is reflected in my artistic structures for creation, exhibition, and the performance of my art.

I use drawing to create events and spaces where participants have the opportunity to experience different modes of being. The various atmospheres, rhythms, and settings for these events offer space and time for sitting, lying on the floor, meditation, contemplation, and other reflective activities. In some cases, the participants may engage through active drawing, sound making, dancing, and personal creative practices. My drawing and line-making in these immersive works has the potential to cultivate an attuned presence, foster different ways of thinking, and invite participants into personal experiences outside of a culture driven almost entirely by capitalist transactions.