DRAW Events‘Centre for Drawing’ and Online Archive launch on May 11th and Symposium ‘THE RESILIENCE OF DRAWING’
The Centre for Drawing founded by Angela Kingston was the first specialist-drawing centre in the UK and has a unique place in the story of how drawing has moved from the peripheral to an expanding field in its own right.
‘The Resilience of Drawing’ A symposium examining how drawing continues to remain so significant a form in our Post Digital age Panel Rachel Whiteread, Angela Kingston, Mary Doyle, Hilary Mushkin, Tim Knowles. Chaired by Tania Kovats.
“Drawing is a testament to the time spent before…and of course the now’” “Drawing is in my head, heart, hands and breath” “Regurgitating the language of myself as artist e.g. boxes, floors.” Currently working with papier-mâché collaged onto corrugated iron with applied blue leaf. (No images on line)
‘Incendiary traces’ research project. “Lines of sight” “Lines of Site” Drawing in contemporary conflict zones bases and sights that are overseen by US military. Problems of drawing in these locations materiality, drawing size, physicality. Presence of occupying artists in conflict zones could be considered dangerous from the perspectives of both the military and public. http://www.hillarymushkin.com
I feel very familiar with his practice having visited his studio and heard him speak at seminars in unit 2. Aim is to reduce control in his drawings often works with repetitive motifs. http://www.timknowles.co.uk Drawing seminars always reveal unknown artists to research. Looking at Angela Kingstons essays on her web site led me to Ed Pien’s ‘Spectral Drawings’ (below) and a marvellous review of Rachel Goodyear ‘They Never Run, Only Call’ 2009
MA Drawing at C4RD Centre 4 Recent Drawing April 2016 Covered in other part of blog ***** BETWEEN THE FAMILIAR AND THE FANTASTICAL. Sarah Woodfine March 2016 Trained as a sculptor her practice now focuses on drawing. We were asked by the artist to watch a short clip from ‘The Wizard of Oz’, Dorothy entering technicolour 1939 prior to Sarah Woodfines presentation of her drawing practice, which is focused on imaginary worlds situated between the familiar and fantastical. [youtube]https://www.youtube.com/watch?v=x6D8PAGelN8&feature=youtu.be[/youtube] Her drawings investigate a slip in reality and dimensions that is accomplished with a precise but heavily drawn pencil process, the most important element of her work. She describes herself as being perceived as being obsessive compulsive in her search to release the embedded narrative.
‘When all the birds are in the sky’ 2015 Pencil on paper and steel. The drawings are often contained in structures or domes, offered to the viewer for consideration.The drawings go back to childhood memories and half forgotten impressions of things to fear, darkness, magic. Sarah spoke of her residency at Tatton Park where working with books in the Mansion collection and botany prints led her to link mind altering plants with a local history of witches. The witches flying ointment spoke to her of witch as nag or herbalist, ideas of transformation and alchemy where you can rub a potion on your skin and fly. This resulted in the drawings being object based and offered as ‘Recipe for a kiss of shame’
DRAWING AND WRITING – THE INTERSECTION February 2016 Prof. Stephen Farthing
‘TIDE’ A LIQUID DIGITAL DISCUSSION Tania Kovats in conversation with Simon Allen about her new work ‘Tide’ part of the current exhibition at Somerset House ‘One and All’ |
