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ARTIST EN RESIDENCE - KIM ANDERSON (AUS)

Close observational drawing has always been at the core of my work as I attempt to capture not only the physical attributes of a subject, but also the more intangible emotional aspects. With a consistent tendency towards intricate detail, I try to understand what I see and feel around me in the world through my drawing – even the smallest detail can hold the greatest significance. I often incorporate translucent materials and unconventional modes of display in order to explore the transformative effects of light and scale upon traditional drawing techniques.

At DRAWinternational, my primary aim has been to challenge my current practice and achieve greater complexity in my work, both in concept and technique. During my three-month studio investigation, I have attempted to break away from my habitual mode of working in what was a purely literal, representational and highly refined way, and to introduce more spontaneity and intuition into my process. Since the start of April I have been on a journey that has shaken me out of the inertia I was feeling before I came here. I have made a huge shift in the way that I view my practice, and in the way I think about the nature of drawing itself. I’m learning to trust myself to make the right mark, to find the right language, to search for the right line, and to allow for the time that it will take to find it.

While the subject matter of these works seems to be disparate, what links them together is a preoccupation with the idea of the space in between things: the space between life and death, between love and loss, between waking and dreaming, and between madness and sanity. Spiders inhabit the spaces in between. Even this residency itself has been a space between.

Spiders, or more specifically their webs, have caught my interest here in Caylus. Almost by accident I came across these remarkable forms which I’d never encountered before at home in Australia. Unexpectedly, without even trying, simply by just being, the spider has opened up a new dimension in my practice – a dimension that I will continue to explore further in the months and even years to come when I return home. The spider and its web have taught me a number of lessons about the drawing process. One begins with certain parameters and skills, but the process is open to changing and adapting as it goes along. Strong supporting foundations are essential, but if a thread or a mark goes awry it becomes part of the design. There is no predetermined finishing point, but there is the need to be receptive to the environment, to observe what needs to be done, and – equally importantly – what does not need to be done. I have learned some important lessons about receptivity and spontaneity which have opened up my perception, and led me down a path I never expected.

 


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TOM BARNETT

Firing Project

 


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