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drawing research action works
DRAWinternational - Actualités

DRAWING RESEARCH RESIDENCY "THE INVISIBLE REALM OF POSSIBILTY" - L’AiR ARTS AT FIAP Paris in partnership with DRAWinternational   -  03/12/2018

L’AiR ARTS at FIAP Paris in partnership with DRAWinternational, Caylus

FEBRUARY 20 - APRIL 12, 2019 (7 WEEKS)

Caylus, France with DRAWinternational: Drawing Research Action Works 

February 20 - March 29 (5 weeks) 
A full month of creative practice at DRAWinternational, located in a medieval town of Caylus, near Toulouse. The residency program continues to expand notions of drawing: to cater for creative people in pursuit of new and dynamic form, in preparation for exhibition, publication or postgraduate qualification and support artists in their professional practice/research. 

Paris, France with L’AIR ARTS at FIAP: Exploration, Reflection , Exhibition 

March 29 – April 12 (2 weeks) 
After a full month of creative practice and art production at DRAWinternational Residency artists will travel to Paris for a two-week program of research, exploration and reflection with L’AiR Arts, as well as exhibiting their work at FIAP Paris. 

“The Invisible Realm of Possibility” 

The project will focus upon notions of intention and the physical act of drawing as it arrives as a vectorial force on a material surface. One could say, an infastructure from where other possibilities collide, from common habitual behaviours toward the realm of the unknown. 

A conscious reflective engagement with the world felt through our our skin, flesh and bones is a spatial process of perception directed upon an environment of mass, volume and depth. A world encountered by the whole human interactive corporeal sensorium through which we become inexorably a part. As such, there can be no gap between biology and society as we move in and around the world, finding out that we are made of the same fundamental stuff as everything else. From this perspective our bodies are situated ecologically, in a role which is not simply ‘subjective’ but social and of nature itself. It is a body for others as it exists in its tension between agencies of power and systems of resistance, what is and what is in the becoming. 

To trust oneself and to be honest in a creative act, which takes cognisance of the world around can only help foster an initial space of meaningful conscious engagement. A continued focus and sense of purpose, with a loss of self, can only lead to a cyclical state of pre-reflective awareness. It is the doors of realisation and insight that resides in the depths of a primordial, intercorporeal, ‘chiasmic’ intertwining of truths, a radical space to be. 

As David Abram has stated: 

. .. meaning sprouts in the very depths of the sensory world, in the heat of meeting, encounter, participation. (Abram, 1997,p75) 

© Edited from ‘Choreography of Drawing: The consciousness of the body in the space of a drawing’ John McNorton, PhD Royal College of Art, 2003.


Exposition : DESSIN - Liberté d'errer  -  30/10/2018

La notion étendue du dessin est passionnante et ses méthodes et matériaux continuent d'intriguer et de stimuler l'action créatrice dans le monde postmoderne. 

DRAWinternational présente une exposition célébrant le dessin, le début d’une collaboration passionnante et continue avec Les Abattoirs, Musée - Frac Occitanie Toulouse et le Château de Caylus.

Guy de Cointet, Daniel Coulet, Daniel Dezeuze, Rolino Gaspari, Jason Glasser, Ramon Guillén- Balmes, Olivier Roi, André Marfaing, Takesada Matsutani, Titi Parant, Jean-luc Parant, Marianne Plo.

Les œuvres choisies nous révèlent une diversité et un attrait, comme une indication de la graine d'une idée; certaines exécutées avec rapidité et profondeur, tandis que d'autres, pièces aussi bien enracinées, examinent et célèbrent la joie de l'acte du dessin, son processus et sa signification. 

Le dessin est un moyen d'observer et de situer la signification matérielle dans le monde physique et visible comme un fait, mais c'est aussi un moyen d'explorer ce qui est invisible à travers l'imagination, l'intuition et l'expérimentation. Les idées issues d'une telle recherche entrent en collision dans un processus chaotique ou parfois structurel d'ouverture d'esprit. Nous dessinons pour penser et pour chercher une nouvelle forme afin de donner un sens aux horreurs que nous voyons et entendons, ainsi qu’à la beauté et à l'humanité que nous expérimentons. Le dessin en tant que discipline offre peu d'obstacles et ne tient pas aux méthodes, mais à son appropriation. Un petit gribouillage sur le dos d'une enveloppe peut s'avérer aussi digne dans sa sensibilité et sa communication qu'un acte de dessin bien focalisé et prolongé sur une surface précieuse. Mais bien sûr, les œuvres sur papier ou surface semblable ne sont pas la seule réponse, aussi précieux que puisse être le contenu. La notion étendue du dessin est passionnante et ses méthodes et matériaux continuent d'intriguer et de stimuler l'action créatrice dans le monde postmoderne. 

Wittgenstein (1975) a déclaré dans son livre Remarques Philosophiques «Nous ne commençons pas par certains mots, mais par certaines occasions ou activités» (p.82), car les mots ne font référence qu'au monde. 



BONNE ANNEE 2018  -  26/01/2018

Nous vous souhaitons une belle et heureuse année 2018!

A new year of exploration : research, projects and artists in search of fresh approaches to drawing.

Une nouvelle année d'exploration : de la recherche, des projets et des artistes à la recherche de nouvelles approches à la pratique du dessin.

Grete et John McNorton




Congratulations to artist TAE EUN AHN winner of the Open Call Prize Exhibition 

t is the 
seventh edition of this annual juried exhibition.


Selected and curated by internationally respected art world professionals, Anthology is a multi-disciplinary exhibition that reaches out democratically to artists worldwide. The 2017 jury is Kate Bryan (Art Historian, Curator, Broadcaster), Matthew Collings (Artist, Writer), Faye Dowling (Curator, Editor, Producer), Zavier Ellis (Gallery Director, Curator, Collector) and Bert Moore (Collector).

Tae Eun Ahn will be artist in residence at DRAWinternational in November 2017.


Tae Eun Ahn 


2017 Performance 1hours 30min 

This performance is a response to a question about where we come from and head to. Throughout the performance, a performer continues to build a structure with clay that has the same weight as her body. By using clay which is often referenced as earth or dirt—which we all are made out of(‘The Lord God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being’ : Genesis, chapter2, verse 7) and where we naturally go back after our death when we are buried—the performance is to construct a shelter for one’s body which can only be achieved after laborious endeavour against its materiality. 

Also, the notion of the process is deeply rooted in this performance. Clay has a condition which needs certain amount of time to build a structure upwards, as it needs to be harden enough to support the loads. But as the performance is continued without stopping or waiting for the clay being dried, the clay structure keeps collapsing. Despite of the collapse, the performer continues to build the structure until she uses all the clay she prepared. By allowing collapsing of the clay and accepting the collapse as another way of building rather than a failure, the performance focuses the “process” of building rather than what is being made out of.



Studio Research Issue #4

This issue of Studio Research has emerged from papers and drawings presented at the inaugural Drawing International Brisbane (DIB) Symposium, held at Griffith University (GU) in 2015. An initiative of Drawing International Griffith (DIG) and the Griffith Centre for Creative Arts Research, the Symposium brought together over one hundred international drawing researchers. DIG is an ongoing program aimed at recognising and advancing the quality of drawing research in Australia and abroad.

Published on Dec 14, 2016


BONNE ANNEE 2017  -  04/01/2017

Meilleurs voeux pour un créatif 2017 !!



Kim Anderson was a delight to have working with us in Caylus with such a mature and focused work ethic. Also so pleased to see success and recognition coming her way. 
Very well deserved and hope there are many more opportunities on their way too in 2017!

Ballarat artist wins Eureka Art Award people's choice


A figure of frustration offset by a wine stain has won Ballarat artist Kim Anderson both the judge’s and people’s choice awards at Ballarat Arts Foundation’s Eureka Art Award. 

Her self portrait Fighting Inertia shows Anderson with her dress pulled part way over her head, covering her eyes and riding up the back of her thighs.

The lead pencil drawing took 200 hours to complete and finished with a flourish, Anderson said. 

“I wanted to take some risks with my work and loosen up a bit because I always do this really tightly controlled stuff and since the piece I have started to,” Anderson, who went to the French post graduate art school DRAWinternational after completing the work, said. 

“It took me a few months late last year to work on this figure and then the final splash (of wine) was at the start of this year and then I went overseas for three months after that.

“I was feeling like I needed to push myself in a different direction … feeling like what do I do, do I just go for it and jump off the cliff or stay stuck forever?”

Anderson received the people’s choice award on Christmas Eve, a month after her work was chosen for the top prize by Ararat Regional Art Gallery director Anthony Camm. 

The Ballarat artist won by a single vote over Deanne Gilson’s triptych Decolonising White.

Decolonising White aims to restore traditional culture and knowledge and celebrate “Aboriginal ways of being and doing”.

The three canvases depict the Wadawurrung Cultural Tree of Knowledge, the silver banksia and the yarn daisy.

Article : Jessica Black

Image : Lachlan Bence


EXPOSITION ‘Deanna Petherbridge’ at the Whitworth Art Gallery  -  14/11/2016

EXHIBITION ‘Deanna Petherbridge’ at the Whitworth Art Gallery

2 December 2016 – 4 June 2017

A solo show of pen and ink drawings from across a 45-year career.

Since the 1960s, Deanna Petherbridge has pioneered critical thinking on drawing and its place in art and architecture.


This exhibition brings together over 40 works from across her career, including the Manchester Suite a collection of drawings made during her six-month residency at Manchester Art Gallery in 1982. Her studies of the city’s Victorian architecture during its first wave of regeneration in the 1980s led to a consideration of the resonance of history in cities, places and landscapes, a central theme of the exhibition.

From 1995-2001 Petherbridge was Professor of Drawing at the Royal College of Art where she set up the Centre for Drawing Research, the first doctoral programme in drawing in the UK. She has curated numerous exhibitions including The Primacy of Drawing: An Artist’s View in 1991, which led to the publication of her acclaimed book The Primacy of Drawing: Histories and Theories of Practice in 2010.

This exhibition coincides with the publication of a major new monograph, Deanna Petherbridge: Drawing and Dialogue, by Circa Press available from December 2016 in the bookshop.


Stigmart Art press : An Interview with Celia Eid and Robert Coburn - Interstitial Traces  -  24/11/2014

'After interstitial places I was lost between one animation attempt and the next. After years of working on the computer, my brain, my arms,legs,ears,nose,eyes had turned into a screen. The chair had become my body. Then one day, I got up. First I underwent training at DRAWinternational, in Caylus (France) with John McNorton. John is a great Teacher, a great art teacher; For two weeks, I drew non stop on large sized sheets of paper,either standing or lying on the floor,on my back or on my tummy. He taught me how to use a pen and pencil again. The strokes followed the movements and and amplitude of my arms and body. I was dancing. I have gained possession of my brain again and the screen is back to its place'. Celia Eid