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 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. 

The extended notion of drawing is exciting and its methods and materials continue to intrigue and stimulate creative action in the postmodern world.

DRAWinternational presents an exhibition celebrating drawing, the beginning of a fascinating and continuous collaboration with Les Abattoirs, Musée - Frac Occitanie Toulouse and the 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.

These chosen works reveal a diversity and an appeal to us as an indication of the seed of an idea, some executed with speed and profundity, while other pieces, equally well rooted, examine and celebrate the joy of the durational act of drawing, its process and meaning. 

Drawing is one way to observe and locate material meaning within the physical, visible world as fact and yet also as a vehicle for exploring that which is invisible through imagination, intuition and experimentation. Ideas from such research collide in a process of chaos, or at times a structured open mindedness. We draw to think and search for new form in order to make sense of the horrors we see and hear as well as the beauty and humanity we experience. Drawing as a discipline in itself provides few barriers and does not hold a tight-rope to methods but its appropriation. 

A small doodle on the back of an envelope may prove as worthy in its sensitivity and communication as well as a focussed and prolonged act of drawing on a precious surface. But of course works on paper or the like is not the only answer, valuable in content as it still might be. The extended notion of drawing is exciting and its methods and materials continue to intrigue and stimulate creative action in the postmodern world. 

Wittgenstein (1975) stated in his book Philosophical Remarks: ‘We do not start from certain words, but from certain occasions or activities’ (p.82), as words only refer to the world. 

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.

ANTHOLOGY 2017 at CHARLIE SMITH LONDON.
It 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 

Untitled 

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. 

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

thecourrier.com.au

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 our bookshop.