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September/October 2012
ARTIST IN RESIDENCE - EVAN BROENS (CANADA) The theories presented by Goethe and his topic of intuitive consciousness as a way of understanding has become central to my working methodology. Drawing has operated as a grounding moment in my creative process and there are aspects of my practice and my work which includes drawing. Yet this way of working has not fully become a secure element in my portfolio. The DRAWinternational residency is an important opportunity to initiate drawing as its own entity in my practice, rather than being supplementary; bridging practice and theory and, as the website indicates, to locate a contextual framework. With the DRAWinternational residency, I intend on achieving within a two month period an exhibition consisting of ten to fifteen fully realized drawings. These works would be the result of several working series explored during the residency; selection for the exhibition would be based on the Board Members critique of all the works made in the multiple series. This process would aid in solidifying drawing as a part of my overall work. My intention here is to initiate a framework and to develop a theory regarding my mark making, and the tendencies that arise out of my drawing sensibilities. Using an assortment of materials and applications, I will be engaged with mark making as an intuitively conscious action in finding a shape as it is meant to be. Regarding my working methodology, shapes are my central interest when it comes to making visual art. I'll see them, I'll sense them, and I'll make several "attempts" to get them out. This is where abstraction is happening. I use a flexible material to get a shape quickly, like drawing and cloth folding, to get something grounded. At this grounding moment, I begin to try and understand how that particular shape needs to be. This is where I'm looking and trusting my actions, whether its cutting or drawing, or moving the materials. Generally, my over-arching interest in residencies is researching how a place affects visual language; I would like to be able to strengthen the skill of articulating the experiences of place and time into object making and thus in communicating through pure visual means. I postulate that the DRAWinternational residency will affectively change the vocabulary of my visual language, and wilfully come away with a more comprehensive cognition of my drawing as an integral part of my working method. The process of morphology in shape through drawing is documented on my website. October 22, 2011 Evan Broens evanbroens.tumblr.com
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July 2012
ARTIST IN RESIDENCE - LYNDL HALL (CANADA) My work is engaged with drawing practices through the examination of the relationship between a line and its surface, specifically how a line transforms a blank space and how that space then contextualizes the impinging line; drawing then becomes an apparatus through which to think differently about the surface that is being marked — the world sustaining that mark. My goal is to execute a series of works, ranging from working drawings to documented performance, as I attempt to ascertain my exact position in space using a sextant, compass and sundial of my own construction, while exploring the poetic implications of alternative graphic based methods for direction, specifically the pre- enlightenment practice of Geomantic divination as a ’logical system’ for guidance. I have found that these directional methods have strong performative inclinations, and my proposal for a residency is to explore the potential for performativity in relation to drawing a line, casting a reading and positioning /locating oneself within the world. The sextant and geomancy both present comparatively primitive, yet elaborate, means for location in relation to modern technologies, and in light of my amateur training—failure becomes inevitable. My pursuit becomes decidedly more quixotic as I attempt to orient myself with these tools in a new space/city/country: even if I attain my goal and deduce my coordinates, I wonder what use the result will be to me—providing only a point in virtual space related to latitude and longitude, without any indication of where I truly might be in the actual world or how I might get home. The inevitable failure of a graphic understanding of place and location is foregrounded in this pursuit. The inverse to this failure is the ability of this graphic representation to trick or convince the viewer of a reality convincingly represented yet entirely fabricated, here the artist becomes charlatan, a trickster that can circumvent the structures in place with ordered disorder. These are the themes I am hoping to research during my residency.
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June/July 2012
ARTIST IN RESIDENCE - MIO HANAOKA (JAPAN) One of the biggest subjects of my works is how to grip relationships in durational time. I want spectators to feel that everything changes all the time, even now. All the objects, including myself, are transforming in order to adjust ourselves to every present moment. We tend to look for a place to stay to make us comfortable, but there is nowhere to stay same. So, I’d like to show the variable present which contains trace of past and also smell of future. I’m mainly working on variable material such as rotten stuff, growing/withered plants, floating objects on the water, burnt objects, etc. Since I’m working with these kinds of materials, I cannot control a situation perfectly. I just arrange a situation as a conductor would, then materials start playing with their “will”. When I feel I cannot control a situation perfectly, paradoxically I feel I’m a part of nature, or an environment surrounding me. The materials make me feel each individual cannot divide itself from the world. That’s why I’m working with materials that are changing unpredictably. And I believe that people who appreciate my works feel the same way. During this residency period, I would like to develop these ideas in a specific environment. I’m interested in the natural environment around the residency. My choice of material is usually the combination of what you are used to seeing in daily life and unusual situations in these circumstances, so I would like to propose a parallel project in two places, one is in nature, and the other the gallery space. I’d like to think about the relationship within these two places and make unpredictable variable installations.
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April/May/June 2012
ARTIST IN RESIDENCE - DAVID GRIFFIN (CANADA) In scientific visualisation practices, node-links have become important thinking tools, allowing views on relationships that are otherwise very difficult to grasp. Their simple graphic displays represent information and processes in the physical-metaphoric terms of sequence and proximity, becoming a kind of interface of intention, intuition and interpretation. The work I will undertake in residence will interrogate these properties of node-links by directly engaging with things which may not be made easier to understand through their use. What are the upper limits of the denotational logic of such diagrams? Is there a space that disallows the mapping of relations by node-link graphics? Is connectivity always a knowable state? In brief, using the coherent light of LASER as a 'pure' line applied to the geometry of space, the output will be a semantic network inscribed between our planet and the others in our local space. Each line will simultaneously link us directly to our neighbours, and the "finished" graphic will thus have the absurd property of ~10 billion kilometres of length. It will be a node-link diagram in Euler's sense, but here placed in a context where its pragmatic utility is met by senselessness in what it traces, and what it represents. Drawn from a ground of technical questions related to orientation, distance, and other matters, this enormous graphic will give us a view on the inconceivable, pushing our understanding of drawing as a thinking tool to an extreme. While there will be lines made on surfaces, just as in any drawing, the sum and substance of those lines and surfaces will be decisively uncertain; it will be a graph writ large, and an object-lesson about irresolvable scales, encouraging multi-disciplinary interactions in support of a gesture whose existence is equally a matter of time and space. David Griffin
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April/May 2012 (rescheduled)
ARTIST IN RESIDENCE - DAVID NECHAK (USA) I want to establish a dialogue between several locations in an environment whereby existing objects with coded colors result in connecting site lines between the objects in the landscape. This might be relating to how painters move color throughout an image to connect different areas within the painting. My desired result would be to encourage people to walk from one location to another to realize the conceptual connections between the objects. In regard to my choice of materials I can use fabric having color, painted papers or painted objects or words of colors or all of the above. The project in a visual sense relates to 'tagging' in a respectful manner. David Nechak has a faculty position at the Cornish College of the Arts, Seattle, Washington.
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September/October 2011
ARTIST IN RESIDENCE - KAZUKI NAKAHARA (JAPAN) I would like to be engaged during my residency in making new drawings. My theme, "oracle bone scrip", was the beginning of a script which originally came from China around 3000 years ago. They were made by observing nature and writing those responses on animal bones or turtle shells. These ancient forms are powerful means for communication and have been an inspiration for my own motif. I would like to continue to explore these ideas and intend to present work made as a floor and wall installation in the studios/gallery of Drawinternational in Caylus. wwww.kazukinakahara.com 'Kazuki Nakahara is a graduate of Hanns Schimansky's school of drawing. Born in Japan, he came to Berlin in 2005 to study with Schimansky. Shaped by his family's tradition - his father is a calligrapher - he has found a place in European art. With impressively precise pencil lines or ink strokes, he began making intuitive depictions of familiar objects on white paper. First they were oversized toothbrushes that danced in abstract space; later he reinvented the typical young girl's hairstyle - tightly bound, short pigtails. Parted hair tied tightly on both sides is one of Kazuki Nakahara's typical motifs which he investigates in many variations, sometimes floating freely in groups or as an individual form. Now, on large format paper placed on the floor, he meditatively makes circles, stroke by stroke. Nakahara's strictly controlled, linked lines and his spherical shapes, can be transformed in one's fantasies to billiard tables on which the "Parting-Award" is played for, they sweep out over our window sills and become magical heavenly bodies'. Inga Kondeyne
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August 2011
ARTIST IN RESIDENCE - DIETMAR FLORENCE RITTNER (HAWAII) I want to create a breakthrough, furthering contemporary expression in my visual art, letting go of form, uprooting conceptions and challenging the mind; through immersion in a new space within the specific regional culture of Southwest France, and through exchange and collaboration with other professional artists. Architectural formations and lines inspire me, Caylus' cobble ways and house entrances, the gothic arches of its marketplace, as well as the natural surrounding landscape of the Pyrenees mountain lines. The light of Southern France and the contrasts it generates, inspires me. Unique people and their expressions inspire me, and I look forward to interactions with the local population of the village. My purpose is to create visual art that is emotionally challenging, expressing harmony and disorder simultaneously. During the one-month residency at DRAWinternational, I want to research the effect of surrounding space on emotional expression. I plan to walk the village and take photos of 3-dimensional formations and lines; then overlay and transpose the outer images into the abstract; improvising with lines, form and color in the framework of 2-dimensional visual art.
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2011/2012 - dates pending.
ARTIST IN RESIDENCE - MANOHAR CHILUVERU (INDIA) I have been involved in international live art events since 2002 during these events I experienced a different approach to the canvas that began with drawings and ended with painting. The whole process and approach is different from art production in one's own studio. I am currently initiating a project to explore and give a more interactive context & occasion to the idea of live art & drawing in action. During my residency I want to develop a series of drawings related to my early live art events, and also related to my ongoing project "Global Gracious " (women as earth and beauty) The works will be a series of study drawings of sculptural ideas and larger than life size drawings. Action, performance and spontaneousness are key elements, as is drawing sourced from within the local environment and life drawing. Manohar Chiluveru
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May/June 2011
ARTIST IN RESIDENCE - SARA SCHNECKLOTH (USA) At DRAWinternational, I would like to focus on developing a series of participatory interactive drawings that integrate vision and touch, and explore connections between the material practice of drawing and the local ecological systems around Caylus, France. I have been developing and showing participatory drawings for the past year, and I am eager to further develop the theoretical and practical aspects of this project through a residency at DRAWinternational. I define drawing as an expansive markmaking process, one that includes traditional rendering approaches combined with three-dimensional elements and new media. As a discipline, drawing is often referred to as ‘the thought process made visible,’ and promotes experimental methods of manifesting ideas. In my practice, I place this ethic of experimentation at the forefront, and invite participants to engage with the visual imagery and physical principles of science, while interacting with drawings that ask for their physical and aesthetic input. My goal is to develop a series of new drawings inspired by local natural systems, and to write critically about the theoretical underpinnings of the project. I would like to engage specifically with the local riparian systems, stone quarries, and flora that is unique to the Midi-Pyrenees. Each drawing would evoke a local natural system in flux, and point to the connections between them. I would utilize a range of traditional drawing materials and grounds, and experiment with new ways of integrating participatory elements into the pieces. My hope is to discover connections between drawing material and the natural environment, and uncover insights into how we interact with both. Conceptually, this drawing project engages with several concerns: What can drawing uniquely uncover and express about our physical and material experiences? What can be learned about an image, an idea, and sensory perception by examining a surface with both vision and touch? How do we interact with each other through art that asks for our participation? How do science and imagination inform each other? Taken on a larger level, these questions form the core of my research interest in drawing, embodiment, phenomenology, and participatory social networks. I believe that a residency experience at DRAW International would push my work in exciting new directions, in both theory and practice. Sara Schneckloth teaches drawing and critical practice at the University of South Carolina in Columbia. www.saraschneckloth.com
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March/April 2011
ARTIST IN RESIDENCE - BEN SHEPPARD (AUS) My process often involves the production of 3D drawings or ‘Idea Objects.’ These objects operate as drawings whereby the concept that ‘the thinking happens in the making’ is at the core of their creation. Lines are edited during manufacture in a way similar to those made and erased with charcoal or graphite and an eraser. The lineal aesthetic affects a feeling of an artefact that operates somewhere between the idea of something and the object that it represents. I intend, during the course of the residency, to substitute 'Idea Objects' into everyday contexts and will immerse myself into the local environment and culture to consider relevant subjects – particularly national and local icons. I look forward to producing a series of drawings (including some on photographic images) and small sculptures whilst being open to collaborative projects at DRAWinternational.
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October/November 2010
ARTIST IN RESIDENCE - BRITT SALT (AUS) During this residency I would like to develop works and research around the idea of ‘Klein Knot’; which I have re-coined as something spatial, movable and in flux, with the potential to incite us to re-orientate ourselves within the immediate spaces we inhabit. The “Klein Knot” installations may occur unexpectedly in public space, where, as the viewer moves closer to the facets of the installation, each part begins to turn and warp its shape. A knot has a strong sense of stability associated with it; it is a serious notion, with a functional strong hold. Yet an installation of tussling objects, three dimensional lines, or “Klein Knots”, which reposition themselves to constantly bring about a sense of instability, groundlessness and fragility in the viewer, as it is encountered. In France, I would like to use this time and idea of the “Klein Knot”, described, to consider how our influence on a given space might track our presence within it. Stated another way, how our effect and interaction within a space, has the potential to place us there, and how without that interaction we may be seemingly displaced and undetected by that space. In the past seven years I have developed a high standing in the Australian arts community, with solo exhibitions attracting positive reviews, contemporary art awards across the country and a nomination as one of Australia’s 50 Most Collectable Artists. Undertaking this residency, at this point in my career, would provide the unprecedented opportunity for me to focus on new studio work in an international environment.
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