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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