ABSTRACT
For 'in-process' the sketchbook exists as the place where reflections and conceptual mappings and suggestions for an artist reside, and as such it necessitates being placed in close proximity to day-to-day activities. In fact, disregarding to progress from the defunct and historical is entrenched with each sketchbook page turned the one that precedes it becomes discounted. This discarding of the sketchbook is integral to process and manipulate thought into method and material. Distressed artifacts, performance relics, obsolete objects, and destroyed paintings for example can be better understood for their value as cultural artifacts if placed within a gallery or a museum. The location of their display situates them as 'cultural' objects. A Perspex lid that held any fondling by prying eyes at bay sealed the white plinth. The crucial role the sketchbook appears as a self-imposed abusive violation of the creative trajectory of the individual's artwork.
