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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. Evan Broens
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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 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 a trace of past and also a smell of future. Mio Hanaoka
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April/May/June 2012
ARTIST IN RESIDENCE - DAVID GRIFFIN (CANADA) Project title: Ut pictura poesis My drawing practice has centred on articulate notations (the music notation, for example) as hybrid representation systems that allow users to write to a conjunctive space-time of performance, rather than merely mapping spaces, or logical relations. The potential of systematic notations will be critically pushed in my residence at DRAWinternational, where I will adapt the simple node-link graphic -- a vital class of technical drawing adapted for use across professional contexts, and develop a time-space notation as an aesthetic-scientific query, rather than a future-subjunctive performance drawing. David Griffin
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April/May 2012 (rescheduled)
ARTIST IN RESIDENCE - DAVID NECHAK (CAN) David Nechak has taught for many years and exhibited extensively in the United States of America. He has also exhibited his quirky and humerous ideas in Canada, Ireland and Scotland. He continues to explore these ideas through installation and sculpture with continuing wit and integrity.
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dates now pending 2011/12
ARTIST IN RESIDENCE - MANOHAR CHILUVERU (INDIA) I have been working with the theme of exploring live art in a public context and I like the process of making art itself as 'art' rather than that of the finished product. A direct dialogue within a public context - time - art and action, the making of live art is mind mapping between imagination, execution, spontaneity and public visual interaction. The body movement is like a performance in relation to art production in live art, the direct articulation with the public in the context of making art is an important aspect of action, and at the same time one discovers one's own self. Manohar Chiluvera lives and works in Hyderabad, India, he has been involved in live art events since 2002 in the following cities: Warangal , Hyderabad , London , Spain and New York.
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September 2011-2012
Open Call - A Social Science and Art and Design Collaboration with Prof. Graham Button and Dr John McNorton Human beings think in the concepts of language, but how they express what they know transcends talking or writing. People perform actions and interact together in language but action and interaction is not confined to language. Therefore if we want to explore what and how people know things, the world we live in, and peoples' relationships to it and to each other we need to do this in modes of communication other than the conventional written form.
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September/October 2011
ARTIST IN RESIDENCE - KAZUKI NAKAHARA (JAPAN) I am interested in 'Line'. I learnt Japanese calligraphy from my father who works as a professional Calligrapher in Japan. I learnt the strict rule of handwriting and expression from the different forms of Japanese characters. Sometimes I practised the same line all day long. This experience has influenced my interest to draw on paper. The drawings are made by adding repetitive strokes with a coloured pencil on paper. I form one or many circles which mostly symbolises the Woman with Pigtails. It is not only the humorous form which interests me, but also the long meditative process of drawing. Stroke by stroke, I try to repeat the line with the same quality with a consciousness in the act of drawing itself. I am also interested in making rules with simple mathematics in drawing. Some round forms stand in a straight line, some make a group with others or make a triangle and some go around regularly. So I amuse myself with the arrangement of motifs and try to express rhythms on paper. www.kazukinakahara.com
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July 2011
ARTIST IN RESIDENCE - CHERIE BENNER DAVIS (USA) I propose to make works by chopping up and rearranging maps and world globes. These will be collected, some prior to arrival and others while in France (both in Paris and possibly also in the local villages near the residency site, if available). These works will reconsider relationships of the individual to place, space and current geopolitical events through a conflation of the physical and psychological systems used to map our world, lives and movement. The pieces will be reconfigured to become three-dimensional forms that mimic things like natural phenomena (ex. the shapes of hurricanes in motion), and the globes will be altered in various ways such as a rearrangement of the countries and continents and in ways that distort/destroy their usually round form. Source materials that are France-specific like Paris metro maps for instance, might be reconfigured to relate specifically to the approaches to map-making, and concepts of locus, space, and movement there.
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June 5th, 2011
Open studio / Building walls on paper - SARA SCHNECKLOTH (USA) These drawings emerge from discovering the manmade and natural terrain of the region around Caylus. In particular, I have been attracted to the many dry stone walls that mark the area. The walls carry a sense of structure, layering, stability, and grace, qualities that I believe can translate from three dimensions to two, and back again. In an effort to understand the labor and tradition of stone wallbuilding, I spent two days helping with a group (APICQ) to rebuild a length of dry stone wall in Jonty. Whether working with a large stone to find the most satisfying fit, or gathering pebbles to fill and fortify, I found that the concerns of the wall translate directly into the activity of drawing. Whether using stone, ink, or charcoal, the character of the materials suggests technique. The process of intuitively finding and placing stone after stone mirrors how a drawing builds, mark by mark, with the structure evolving over time and patient labor. Working between the wall and the studio also gave insight into ideas of collaboration and ownership, as each individual's labor became a part of the larger structure, an accumulation of effort, intention, and technique. When I set to build walls on paper, using drawing materials instead of stone, I found that the same concerns were central. What does the wall need to become stable? What mark will fortify the whole? How do layers build in space, through touch and intuition? The utility of the drawn wall differs from that which separates pastures or marks property, but the drawing works as a record of labor and experience, a puzzling over structure and balance, and a hopeful pursuit of integrity. Sara Schneckloth
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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
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April 16 - May 21st, 2011
Exhibition - Digital Dialogues JASON DAVIES/DARREN WILLIAMS (WALES) The origin of this collaboration was borne out of the desire to be more creative with electronic communicative technology, whereby the process of production is central to the project. Given our socially and personally shared limitations and imposed parameters regarding time, space and finance, we wished to develop a collaborative art form in which issues of geographical distance, finance, leisure time and working space, could be traversed by the mediation of commonplace technology- the home computer suite. We are currently engaged in a long distanced collaborative project utilizing the generic email system and creative packages within the home computer suite. Drawing occupies a central role in the work, often being both the initial drawn component scanned into the PC, and an integral part of the images development as it zips back and forth between collaborators in file format. The mark making is directed using either a drawing tablet or the mouse itself, and drawings are instigated by either collaborator. Although this form of pictorial communication is itself the primary subject matter, each individual dialogue is representative of concerns, expressions and incidents based on our own particular experiences and personal histories. We literally draw out the threads of our daily lives, ritually recording the most pertinent in sketch form. These ‘diaristic’ sketches are then worked upon and expanded until each subsequent e-drawing reaches completion. The sleeping partner in all of this is the machine, or program itself, for as expansive as the possibilities within each program may be, our choices are still confined within its parameters. A recent development has seen the project website develop beyond a mere depository for the dialogues into an arena where live works can be instantly uploaded, providing a visual blog. This has coincided with the utilization of photographic imagery collected with the ubiquitous mobile phone. digitaldialogues.co.uk
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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.
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December 2010
Exhibition - YANN LESTRAT - Current works (FR) Emerging French artist Yann Lestrat presents his latest works. Creating invariably simple forms that claim an absolute yet unattainable perfection : polished steel, laminated monochrome acrylic paintings and transparent plexiglass plates, Yann's use of techniques and skills from the industrial world contrbutes to his interest in the "finish" of the work but also, paradoxically, his detachment from reality. His creative research often explores landscape, public spaces and familiar domestic objects, to which he introduces unexpected aspects that disturb their common use/ perception and the established order. 9 photographs The result of several years of photographic exploration that focuses on images of domestic lighting (lamps, ceiling lights, chandeliers), taken randomly on visits and trips. These images are selected and reworked in order to bring out in each a strangeness/ambiguity that such common objects can sometimes conceal and to which we often pay little or no attention. Captured in this way the objects take on the appearance of bioluminescent creatures of the deep, or even of spacecraft straight out of a science fiction movie. Whether from an underwater or inter-galactic world, the photographs carry with them a certain humour, given the modesty of their origin, as well as poetry and imagination. Nevroz A sculpture that wickedly condenses and heightens the rudiments of a spirit level : Called Nevroz, the object is made of bakelite and displays a bubble inside a circular window. Spherical, this precision tool is in perpetual imbalance, it is an impossible and surreal measuring instrument, caught between ordinary object and sculpture. From the viewpoint of design, the ‘Nevroz’ spirit level is a mobile sculpture set in precarious balance that will not enable one to find the strict line you’re looking for… Work co-produced by La Criée , Contemporary Art Center, Rennes, with the support of SEPA / Bon Accueil, Rennes. "Nevroz" Reissued 2010 in partnership with Tamawa (Brussels). "Et in arcadia ego / Iceland" This is a body of work explored by the artist since 2003 with the idea to set up and photograph a stainless steel evacuation plug of 100 cm in diameter within the natural landscape . The trip to Iceland, which took place in September 2007, is the first realization of this project abroad. The book, without text or commentary, presents three series of photographs showing the installation of the plug in the Icelandic countryside, together with the ins and outs of the trip and a set of Polaroids taken after the extraction of the plug. Additionally a DVD insert has two documentary films by Nicolas Touzalin. "Et in Arcadia Ego, Iceland", (2009) Zedele Editions (Brest) Public Collections
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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.
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