Stonehedge Drawings
These pages are not drawings of objects, but exercises in discipline: reducing form until silence, distance, and repetition become the structure itself.
P7 — Discipline and Start: Structure through duplication and resizing
This page marks the beginning of a disciplined process. A single line structure is repeated, adjusted, and resized. The drawings are not meant to represent an object, but a method: how form is generated through restraint rather than invention. The act of duplication removes expression and leaves only structure. What remains is not an image, but a rule.
Connection to Mukurob / Stonehenge / Silent Monumentalism
Like Stonehenge and like Mukurob, the form is not created to decorate, but to stand. Silent Monumentalism begins here: not with meaning, but with discipline. Repetition and proportion become the tools through which presence is built.
Discipline of Form: Start, Duplicate, Resize
On this page I am not trying to draw an object. I am trying to start a process.
I begin with one simple form. Then I duplicate it. Then I resize it. The drawing is not about what the shape looks like, but about what happens when the same form is repeated and changed in scale.
For me, this is how monuments are thought: through proportion, repetition, and order, not through decoration or storytelling.
Here the drawing is not an image of something. It is a method. By repeating and resizing the form, I take away expression and leave only structure.
This is discipline because I remove storytelling and keep process.
I let method replace expression.
This is one of the core ideas of Silent Monumentalism.
Connection to Mukurob / Stonehenge / Silent Monumentalism
Mukurob once stood alone in the landscape. Stonehenge stands through repetition and spacing. Here, the form stands through reduction. Silent Monumentalism is not about building more, but about removing until what remains can carry weight.
On this page I keep only one structure.
There is a lot of empty space around it.
I even write the word “Discipline” at the top.
There is no background, no story, no explanation.
I allow the form to stand on its own.
The empty space is not just background — it is part of the work.
I stop myself from adding more.
The drawing becomes more about presence than about image.
This is discipline because I stop before the drawing becomes illustration.
That kind of restraint is exactly what Silent Monumentalism is about for me.
P9 — Two forms in relation
Connection to Mukurob / Stonehenge / Silent Monumentalism
Stonehenge is not one stone, but many, held apart by distance and alignment. Mukurob was one, yet defined by the space around it. Silent Monumentalism works in this tension: between one and many, between presence and absence, between standing and spacing.
Two Forms, One Distance
Here I draw two very simple standing forms.
Nothing else.
There is a lot of space between them.
I don’t try to connect them, decorate them, or explain them.
What matters more than the shapes is their relationship.
The distance between them becomes part of the structure.
This is how Stonehenge works: not one stone, but spacing and alignment.
This is also how Mukurob worked: one form defined by space and isolation.
This is discipline because I let space do the work instead of adding detail.
Why this is Silent Monumentalism
Here I am not trying to draw things. I am trying to draw rules.
I treat the form like a unit that I can repeat and resize. This is how I think about monuments: through proportion, repetition, and order, not through decoration or storytelling.
The drawing is not an image of something. It is a method. By duplicating and resizing the form, I take away expression and leave only structure.
This is discipline for me because I remove storytelling and keep process.
I let method replace expression.
This is one of the main ideas behind Silent Monumentalism.
This is not Stonehedge yet — this is my discipline
These drawings are not about Stonehenge yet. They are about how I work.
Here I am building a discipline: a way of thinking with form, repetition, scale, and space. I am not trying to draw objects or places. I am trying to set up rules. I repeat forms, I resize them, I isolate them, and I place them in space. The drawing becomes a method, not an image.
This way of working is close to what is known in art history as Minimalism, where artists reduced art to simple forms, repetition, and structure instead of expression, storytelling, or decoration. Artists like Sol LeWitt, Donald Judd, Carl Andre, and Agnes Martin worked with systems, repetition, and space, letting form and order carry the work rather than emotion or narrative.
My discipline works in a similar way, but with a different intention. I am not interested in style. I am interested in restraint. I use reduction instead of addition. I use repetition instead of invention. I use space as part of the structure, not as a background.
These drawings are not monuments. They are how monuments are thought: through proportion, spacing, repetition, and presence.
This is what I call Silent Monumentalism.
Not building yet.
First, learning how to stand.
Stonehenge and Mukurob come later — as references, as sites, as memories.
But before that, there has to be discipline.
https://pieterlateganart.blogspot.com/2026/02/silent-monumentalism-mukurob-also-kown.html
https://pieterlategansketchbook.blogspot.com/2026/02/words-pieter-lategan-2026.html
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