Feeling with fingers that see: Simryn Gill's 'Naga Doodles'

Emilia Terracciano argues the case for rubbing as a form of drawing: a process that simultaneously celebrates the notion of the ‘seeing hand’ and questions the long-held regard for the pre-eminence of the mind over material in the act of drawing. She equates Simryn Gill’s rejection of the primacy of the eye with the Surrealist call for more ‘primitive’, infantile and spontaneous experiences.