draw international

DRAWinternational
drawing research action workshops

Events

May/June 2011 ARTIST IN RESIDENCE - SARA SCHNECKLOTH (USA) How do we hold memory? How do memories hold us? I pose these questions as the starting point for my work, as I strive to embody moments of remembering, and consider the relationship between the body’s physical performance of memory and inscriptive practice. My work deals primarily with imagined microbiological systems rendered on a macro- scale. I envision and create cells, organs, fluids, and tissues, and seek to assemble the elements into new systems of organic relationship and connection. I work in a variety of mediums and look for ways to take drawing beyond its traditional definition of “mark on paper.” I believe that the act of drawing is a way of residing in multiple states of awareness – of present, past, future – of what one is, has been, and hopes to become – of the physical, the mental, and the formal. I draw as a way to see more deeply, both inside and out, and to elevate the act of seeing to a process that is fully engaging of both body and mind. In the gesture of a drawing, there abides the question of how human beings hold memory. I care about how the body holds its history, and how that recollected history can be performed through the act of making embodied signs. Sara Schneckloth teaches drawing and critical practice at the University of South Carolina in Columbia. www.saraschneckloth.com

March/April 2011 ARTIST IN RESIDENCE - BEN SHEPPARD (AUS) IDEA OBJECTS Lineal sculpted forms that appear as if drawn into space. These can also be ‘traditionally’ drawn onto photographic images in a larger scale to appear as if in real space. Halfway between the idea and the realised object, these forms present a proposition of a potential form imagined by the viewer. 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.

October/November 2010 ARTIST IN RESIDENCE - BRITT SALT (AUS) My current practice exercises a multitude of ephemeral lines and the transparency of mesh to create works that reposition the way we know and experience space. I work both three dimensionally making objects, and two dimensionally in drawing. It is between these two practices that my work mediates between form and space, and defines itself as Monoform; a term I have created to describe the merge of form and space in my practice. These current works shift between interior and exterior, positive and negative, seen and unseen spaces. As the viewer moves, the layers of these forms merge and separate. The distinctions between the spaces inside and outside of these built forms blur, and the possibility for a new interaction and experience of space occurs.

September/October 2010 ARTIST IN RESIDENCE - BARBARA KENDRICK (USA) In the 21st century the boundaries between the artificial and the natural are eroded and erased in ways that are both chilling and thrilling, producing surprises that can be wondrous and deeply disturbing. Hip and knee replacements, artificial hearts, cloning, genetic plant modifications, the pill, as well as countless other medications, have drastically altered what we thought we knew about distinctions between what is artificial and what is natural. Our complicated relationship with nature stimulates the way I choose to use contradiction in my work. In my garden of images, animal, vegetable and mineral combine into hybrids. Plants grow organs, tumors, blisters; they erupt and spit, dribble and drool. www.barbarafkendrick.com

September/November 2010 ARTIST IN RESIDENCE - POLLYXENIA JOANNOU (AUSTRALIA) My proposal for a residency at DRAWinternational AIR is simply to have the time to fulfil an uninterrupted stint for a project I have had on the backburner for about 3 years. I have chosen the Institute du Monde Arabe as a springboard for the simple reason that it is a marriage…a hybrid of Moorish elements behind a stark modernist façade. This body of work will be based on the interior and exterior of the Institute du Monde Arabe in Paris and, I am interested in the contrast between the lights and darks that are reflected against her interior walls and stairwells as well as the repetitious, grid-like squares that face onto the courtyard. Pollyxenia Joannou is a practicing, exhibiting artist from Sydney, Australia who is represented by Conny Dietzschold Gallery in Sydney/Cologne.

July/August/September 2010 Exhibition 'BARRETT- DANES - a continuing tradition'. The exhibition presents the work of Alan and Ruth Barrett-Danes referencing the fascinating connection with Upchurch Pottery and the major influences made on the next generation of potters, within an historical context of the development of 20th Century studio ceramics. Working jointly and individually Alan and Ruth Barrett-Danes made a major contribution to the development of studio ceramics in Britain. For the Barrett-Danes’, ceramics has been a tradition spanning six generations and dating back to the early years of 19th Century. Over many decades Alan and Ruth Barrett-Danes passed on their skills and enthusiasm to generations of students, to an appreciative audience and to their son Jonathan, whose work shows evidence of their influence whilst having a life and direction of its own. Alan’s experiences and training meant that he was uniquely positioned to play a key role in developments of studio ceramics in the later decades of the twentieth century. No one else was as well-equipped as he was to take advantage of that moment when ceramics open itself up to its past and its future. Barrett-Danes: A Continuing Tradition offers the viewer an opportunity to see the life and work of an artist who was able to take the story of ceramics apart and then put it together again in new and challenging ways.		More images >>