The Drawing Collective International Art Project
Espace des Arts Abstraits - Abstract Project, Paris 2016
The Drawing Collective International Art Project
Espace des Arts Abstraits - Abstract Project, Paris 2016
Our story It all began one evening in Paris a couple of years ago. I had met up with some friends at the Centre de Pompidou to see a Drawing exposition. It was a beautiful display of a large collection of contemporary drawings from the Guerlain Foundation. At the end of our visit we talked about the show and its contents. We observed the evolved definition of drawings in the context of contemporary art and the phenomenon of drawing as an end result versus drawing as a process to arrive at a goal. The application of different tools and substrates intrigued us. We realized that drawing played an important role in our own studio practices. We thought it would be interesting to explore this subject with other artists we knew. Our connections through social media with artists across the globe enabled us to launch this effort to connect with them to explore together the practice of drawing. The Drawing Collective is the visual format of this exploration. We are very lucky to be able to form a great collective of talented artists. It has been a wonderful journey for me to see this effort evolve from an idea to a concrete group of enthusiastic participants. Our challenge was to keep it limited to a number that would allow meaningful communication and realistic possibilities for showing our collective work. It was not easy. Sadly we could not include many talented and enthusiastic artists for this initial effort. The first show of the Drawing Collective is scheduled to open on March 23, 2016 in Paris, France. Bogumila Strojna (France) has been instrumental in spearheading this effort. This show is accompanied by a digital catalog designed and executed beautifully by Erdem Kucuk-Koroglu (Turkey). I would like to thank all our member artists for their enthusiastic participation, their generosity in sharing their views and perspectives and their courage in exploring possibilities. I look forward to the evolving process in the realm of our work and the Collective. Sincerely Munira Naqui March 5, 2016
AndrÃ© Geertse (NL) Anne Brochot (FR) Barbara Halnan (AU) Bogumila Strojna (FR) Christine Boiry (FR) Danielle Lescot (FR) Diane Scott (NZ) Ellen Golden (USA) Emma Langridge (AU) Erdem Kucuk-Koroglu (TR) Liz Davidson (CA) Marilyn Chapin Massey (FR) Michael Perlbach (DE) Munira Naqui (USA) Sharon Hall (UK) Tineke Porck (NL) Wahida Azhari (DE) Wilma Vissers (NL) Youn-Ja Lee (FR)
Ahn Hyun-Ju (DE)
Ahn Hyun-Ju www.ahn-hyun-ju.de
size of each work: A3 - 29.7 x 42 cm, ink pen on paper, 2015
Biography Ahn Hyun-Ju is born in Seoul, South Korea, lives and works in Germany. She studied sculpture in Ewha Womans University and painting in Kunstakademie DĂźsseldorf Statement These drawing are like a magnet field. Lines are pulled or pushed back. My paper drawings are not very different from each other while they get other names. circumstance of lines are: changing moving evolving happenings on the paper are: interaction cause and result slight or clear evolution
André Geertse www.andregeertse.eu
size of each work: 29.5 x 21 cm, acrylic on paper, 2015
Biography The artist, André Geertse (1959), was born in the port city Vlissingen, in the South-West of the Netherlands. He grew up at the North Sea coast, close to the spectacle of sea, light and air which has a great influence in his work. The artist studied from 1983 to 1988 at the academy of Art in Tilburg. We see in his work important themes such as the strength of color, space, light, and repetition. The fascination for game and change, related to order and chaos comes also back in his work. In his studio in Tilburg he works on paintings, often on an intimate format. Besides the traditional painting canvasses, he works also on panels and all kinds of sheet material. Questioning the language of painting. This attitude creates works of artwork of a personal signature, which are not necessarily a representation of reality, but rather a search for a reflection of the inner self. The work includes paintings, drawings and artist’s books. Current information can be found at www.andregeertse.eu Statement In search for a direction, notes on the work on paper. The work on paper by André Geertse is an open investigation into concepts such as light, space, lines, planes, grids and color. In the work there is a very conscious usage of the various techniques of applying material; lines drawn free hand alternate lines where a ruler is used. Thin pencil lines are combined with lines drawn with a brush. Sometimes a part of the work is painted over, possibly combined with a collage. The size of the work is often intimate, the sheets are often taken along on a journey. The works on paper are sometimes intended as studies for larger works. In most cases however, they have an autonomous status. Often, the pieces are part of a series, with a project-based character. Sources of inspiration include poetry, music, travelling and the sea.
Anne Brochot annebrochot.com
size of each work: 30 x 40 cm, aquatinte, 2015
Biography Anne Brochot was born in 1960 in Ile de France. At the age of 30 she studied architecture and began installations. The organic structures in the countryside and the geometrical patterns, materials and tools of architecture are her most important influences. In two or three dimensions, she works on the relationships between objects. The spaces she works in are always changing. The work speaks about the feeling of the space, independent of its dimensions. Statement Drawing and etching are new ways for her to raise these object in relationships with space. The important thing is not to represent a form but to vary the possibilities in a mental space. Shadowed densities begin to move square shapes on the white of the page. The question is, is the page a vacuum or a space?
Barbara Halnan bhalnan.blogspot.com
size of each work: A3 - 29.7 x 42 cm, ink and graphite on paper, 2015
Biography Originally from Perth, Western Australia, I did my degree in French language and literature at WA University. various art institutions. Between 1965 and 1983 I lived in Sydney NSW, except for 15 months spent travelling in Asia and living in the Netherlands. I started art training in 1975, studying at various art institutions between 1975 and 1980. My work for the most part has been in the formalist tradition of artists such as Bridget Riley and Agnes Martin. Between 1983 and 1990 I lived in Belfast and London, working as a screenprinter, as well as continuing my own work. Since 1990 I have lived and worked in Sydney NSW, regularly exhibiting work which encompasses painting and drawing as well as installed mixed media constructions. Statement Drawing is central to art-making and to artists. The story goes that Picasso was still drawing on his deathbed the day before he died. To start a drawing - “dessiner” - to make the first mark on a piece of paper or a canvas - is an act which requires not only concentration, but also a kind of courage. A blank surface is an obstacle to be overcome, bravery has to win out over timidity. Maybe this is why in my drawings the idea comes first - the design, the concept, the scheme; and the mark only happens after this groundwork has been accomplished, the measurements calculated, the framework established: perhaps I am not brave enough for the gestural. In English there is a distinction between drawing and design. In French there is no such distinction. So “dessin” has a multitude of meanings - it can be a plan for a house, or a quick sketch capturing the essence of an image for later reference; it can also be a plan of action, or a wicked scheme to trap the unwary; more importantly in this context it can be a finished work of art in its own right.
Bogumila Strojna www.strojna.net
size of each work: A3 - 29.7 x 42 cm, digital inkjet print on 260gsm fine art museum paper, 2015
Biography As a Franco-Polish artist living and working in Paris, I regularly exhibit in France, Australia, Germany, Poland, the Netherlands, and China. Several virtual meetings with my peers have turned into real friendships that have led to participation in numerous exhibitions. My work is visible on my site: www.strojna.net I am also ready to receive visitors by appointment in my studio. Statement I have always considered drawing as a separate medium, legitimate in its specificity, independent of its service to painting or sculpture. Normally, to create my three-dimensional objects or bas-relief works, I use drawing as a sketching tool. But for “the drawing collective”, I decided to proceed in another way, using my own sculptures as a point of departure.In some sense, this is “drawing from life,” a work of interpretation, of dimensional transposition. Via this process, drawn shapes evolve, acquiring a life of their own, distanced from the “original” while retaining their filial relationship. I first created digital prints. Then the flat drawings are subsequently reworked, they are cut into pieces that are superimposed to create dimensional works. What has intrigued me about this process is observing how what I “know” is transformed into something new, how one three-dimensional object, subjected to a reworking in two dimensions, gives birth in turn to another three-dimensional work. It’s a process synonymous with the perpetual motion of the creative impulse itself. For this project, I have produced numerous series, and cut paper drawings, each derived from a different series of sculpture. Three of these series are presented in the catalogue, two images per series. The digital inkjet prints are realized on 200 gram archival paper, and cut drawings on Canson tracing paper, 200 grams.
Christine Boiry www.christineboiry.com
size of each work: A3 - 29.7 x 42 cm, ink on watercolour paper, 2015
Biography My work comes from the study of colour, material and movement to create a minimal space, in search of rythm, emptiness and light. It plays with different shades of the same colour, exploring its possibilities and the vibration of light on different material (paper, canvas, wood blocks, metal discs, …acrylic, ink, pencil, spray paint…) Recently, it often interacts with the surface of the wall through a puzzle of different pieces, playing with intervals…Trough its composition and variation of shades, my art create « a musical time and space, continuous / intermittent, built with breaks, repetition, suspension, arabesque... » as told by the french philosopher, Fernand Fournier. Statement My drawings are based on the intersection of two circles. A white geometric figure is crossing this double circles space, filled with coloured stripes. At the meeting of the two circles there is movement, a common playground. But at their center is the white space. There the interplay gives way to a place of calm, silence, and emptiness where the spirit can regenerate itself. This is an important axe of my work. About my experiment of the Drawing collective, I worked since early 2015 on these white figure series, beginning with pencil and experimenting with the size and form of the geometric “center.” Next I introduced colour. Marilyn Chapin Massey who posted drawings of different sets on the Drawing Collective Group gave me the idea to begin a second set this summer. I widened the common playground at the intersection of the two circles. This expansion creates two wide moon crescents which evocate Islamic art for me. Here the interplay also increases. They can be seen on the Drawing Collective Facebook page.”
Danielle Lescot www.daniellelescot.com
size of each work: A3 - 29.7 x 42 cm, pencil on paper, 2015
Biography Painter, Ceramist / Sculptor. Statement Some choices of direction, some opportunities of forms, without intention, some fluid surfing colors to create patterns without real signification, some opportun structures. Made with color pencils.
size of each work: 30.5 x 33 cm, graphite acrylic on 300gsm paper, 2015
Biography Diane Scott graduated in 2012 with an MFA (first class) from Elam School of Fine Arts, Auckland. In 2012 she received the Elam Prize for Painting, and was the winner of The Glaister Ennor Masters Graduate Art Award. Prior to Elam Scott’s practice was primarily sculptural. Sculpture continues to inform the current works through shared concerns of space, illusion, materiality and light. Scott is represented by Antoinette Godkin Art House. www.antoinettegodkin.co.nz Statement I’m excited by what drawing has brought to the surface. Immediately you’re faced with the question of what is driving the work? I’m interested in the perception and experience of space, and paradoxically in finding no boundaries within confined spaces. Explored through the spatial qualities of composition, orientation, materiality and light. The reciprocal tension created by pitting the forms within the work against each other brings an instability of the parts in relation to the whole.The affirmation of one negates the other, this active contestation folds the work back onto itself, and the instability produces a deferral that resists integration or a singular reading.
size of each work: 9 x 12 inch, ink on paper, 2015
Biography After a gap of many years, I started drawing again in 2006 inspired by a class with Andrea Sulzer. I had studied previously at the Art Students League and Barnard College in New York and with Rex Gorleigh in Princeton, New Jersey. Statement Patterns, shapes and shadows are the starting point, but my work flows from an intuitive and emotional response to the natural world. I am interested in the patterns within forms, the accumulation of small marks, and the spaces in-between. Each drawing emerges through a process of discovery â€“ each mark a response to the ones that have gone before. The meditative quality of the process is in contrast to the unforgiving nature of the materials.
Emma Langridge www.emmalangridge.com
size of each work: A3 - 29.7 x 42 cm, ballpoint pen on watercolour paper, 2015
Biography Emma Langridge was born in England, grew up in Perth, Western Australia and now resides and works in Melbourne. Primarily a painter, she has exhibited regionally and internationally for twenty years, most recently at Gray Contemporary in Houston and Galerie van den Berge in the Netherlands. Her work is held in numerous public and private collections. She is currently undertaking a practice-led PhD in Visual Arts at the Australian National University. Statement It was hard to find my way with these drawings as I am primarily a painter and use a very strict process, which does not allow for much leeway in terms of materials. As such, the drawings echo my paintings very closely: the use of everyday materials (ruler and ballpoint pen), a strictly controlled procedure, the reliance on millimetre increments and the allowance for a glitch or irregularity to occur. As such, though I initially thought this project was peripheral to my practice, it has become a vital and ongoing step, which I will be pursuing further, alongside painting.
Erdem Kucuk-Koroglu www.geometrivesanat.com
size of each work: A3 - 29.7 x 42 cm, pen and graphite on paper, 2015
Biography Erdem was born in 1979, Istanbul. He is a bachelor of science in mathematics graduate from Istanbul University in 2004. He studied art and painting at the ‘Mehmet Güleryüz Art Studio’ between the years 2000 and 2004. He became the member of UPSD, National Comitee of ‘Association Internationale des Arts Plastiques’ (AIAP) in 2001. His works are in public and private collections. Currently he is living in İstanbul and working as Graphics Designer. Statement He expresses his artworks as geometric abstract paintings. The influence of his master degree on mathematics has a big effect on his artworks. He composes his works using visual esthetics and rhythms of calligraphy. His works consist of geometric forms dependent on mathematical ratios and he uses the Golden Ratio of proportions for geometric forms and compositions. Besides mathematics, he is influenced by traditional Turkish, Chinese and Japanese calligraphy. Generally speaking, he emphasizes balance, rhythm, positive-negative space by composing geometric relations.
size of each work: 17 x 11 inch, mixed media on paper, 2015
Biography Liz is an artist living in the Eastern Townships of Quebec, in a small town, with a large man, in a small house with large studios and a very large garden. Statement Drawing has been the major part of my studio practice for the past several years. Rather than being preparatory sketches for other work they have been done for the sheer pleasure of making marks. A few years ago I came upon a wonderful 8 inch brush that fit my hand perfectly and has a voice I want to follow.
Marilyn Chapin Massey mcmassey.wordpress.com
size of each work: 33 x 23 cm, acrylic on paper, 2015
Biography I began to draw and paint after another career. I retired to Paris and took a drawing class because I thought it would train my eyes to truly see the city. And then I was hooked. I have taken classes for adults at Beaux-Arts de Paris and Les Ateliers Carrousel and studied privately with the artists, Jean Charles Yaich and Richard Van der AA. Here in Paris I have shown works regularly at ParisConcret, Salon des Rèalitiès Nouvelles, and Artistes á la Bastille. Internationally, I have shown work at Art Miami and at an individual show in Washington, DC. Statement My drawings have all been inspired by a color or shape I’ve seen on the Paris streets. Some of the inspiration is from graffiti. Even though I began my study of art with realistic drawing, I have discovered that my passion is color. I work with multiple layers of acrylic color to achieve a depth in these drawings. The structures and marks, mostly with pencil, are there to support the color. I work on a table in front of my wonderful north-facing windows in my atelier looking across at the old buildings which are often my subjects. I enjoy being in the drawing collective because it is distances me from the brightly colored, highly geometric work on dibond I have been doing. It seems to me that drawing is always about gesture where the movement of the hand is not hidden even in the most highly structured work. It creates surprises out of the inevitably uneven.
Michael Perlbach www.mikelmade.de
size of each work: 13.5 x 24.7 cm, black ink on bristol cardboard, 2015
Biography Born in 10/10/1963 in Frankfurt am Main, Germany. I live and work in Hamburg, Germany. 1978-1997 Drawings, experiments with photorealistic drawing and analog photography. 1990 First exhibition participation. 1989-1999 Studies of philosophy, art history, political sciences in Mainz,Dijon and Konstanz. from 1999 Start of a career as a programmer, start with digital photography. 2008 Start of an extensive artistic program. 2009 Made a Facebook account. 2010 My first studio. 2012 Published my photobook “Planets”. Statement I consider myself a visual artist. At its current state my work is mainly based on digital photography and drawing. The creation of my drawings is driven by a fascination for the detail and for finding the limits of my own skills and of the medium itself, both on a micro level and on a macro level. In order to achieve a special experience of complexity for the beholder I use a drawing technique I call “dissolution”. Except for clear black and clear white areas everything else in my drawings is assembled from tiny structures. Sometimes these structures need to be so tiny that the are not distinguishable from simple dots, so that in these cases the limit of the medium is reached. Creating drawings with this technique is no easy task and requires careful planning, patience, time and a lot of concentration. But, as I found out: The result is always rewarding and can not be afforded with any other drawing technique I know.
Munira Naqui www.muniranaqui.com
size of each work: A3 - 29.7 x 42 cm, pigment powder and wax on paper, 2015
Biography Munira Naqui was born on the eastern coast of the Bay of Bengal which is now Bangladesh. USA has been home for her for the last 33 years. She lives and works in Portland Maine. Statement Drawing has been a consistent part of my practice. I draw as a meditative exercise, most often to flush out my thoughts in search of clarity. My drawings are done in the manner of Tibetan mandalas, only to focus on the process, never meant to be saved. With the Drawing Collective I took a different approach. These drawings are finished work, the end result of a process. These are inspired by my paintings and not the other way round. I usually paint on wax fortified with natural resin with pigments or graphite powder. This series of drawings are done on translucent Mylar with powdered pigment and graphite. This result closely mimics my paintings. I hope to explore other mediums and processes in future drawings.
Sharon Hall www.sharonhall.co.uk
size of each work: 30 x 40 cm, gouache and acrylic on khadi rag paper, 2015
Biography Sharon Hall was born in 1954, Darlington, Co. Durham in the UK. She studied painting at Lanchester Polytechnic, Coventry and the Slade School of Fine Art, London. She has participated in numerous national and international exhibitions including, The Borrowed Image, Sunderland Centre for Contemporary Art in 1997, Surface Connections, Holden Gallery Manchester, 2004, Transfer, Keith Talent Gallery, London, 2006, Meta-Contemporary British Abstract Painting, Anglia Ruskin University, Cambridge and Beardsmore Gallery, London, 2009, Zombie Modernism, Malgras Naudet, Manchester, 2012, Colour Boundary, Gallery North, Newcastle upon Tyne, 2014 and most recently Eye and Mind, The Mercus Barn, Mercus-Garrabet, France, 2015. Solo exhibitions include the Castelfield Gallery, Manchester in 1993, Union Street Gallery, London, 1995, Colour in Place, Il Palagio, Pescia, Italy, 2013 and most recently at Threeworks.org, Weymouth, UK, in 2015. Sharon is a former Head of Painting and Senior Lecturer in Fine Art at Manchester School of Art. She is based in London and Italy. Statement This current set of drawings investigates the different ways in which both the properties of colour and simple geometric structures can be made to work together. This interaction results in a kind of optical resonance and shifting spatiality that may transcend its apparent simple means of production. The series investigates physical materiality and the more elusive qualities of light and translucency. They reflect my experience of place in both the way light and shadows may operate within an architectural setting and also register my interest in embedded colour and certain Italian traditions of fresco and wall painting.
Tineke Porck www.tinekeporck.nl
size of each work: A3 - 29.7 x 42 cm, oil crayon on aquarel paper, 2015
Biography My roots as an artist lie in the pure geometric abstraction and over the years my art developed into a more conceptual concrete art , still using the most basic elements of constructive art. Repetition, restriction to basic forms and colors. lines, and planes. In my thinking I was inspired by dutch artists as Mondriaan and Schoonhoven, american artists Agnes Martin, Rothko and other artists of constructivism and zero-art. Statement My art describes as reductive, modern, abstract, minimal., Yet, I like individuality and a personal adding. Thatâ€™s why I made a series of drawings for the drawing collective consisting of handdrawn lines. There is so much information to be found in a simple line. Fragile, soft, individual or a multiforl, the interspaces. The choice of the material fine aquarelpaper is made deliberately, because it emphasizes the vulnerability of a line. In the drawing collective I saw many interesting mathematically drawn lines , which are very interesting in focus and compositions. I consider my drawings to be a counterweight .
Wahida Azhari www.wahida-azhari.de
size of each work: 30 x 40 cm, acrylic on paper, 2015
Biography Wahida Azhari studied at the Academy of Fine Arts in Hamburg. Her teachers were Franz Erhard Walther, Stanley Brouwn and Lothar Baumgarten. Wahida Azhari participated at national and international group exhibitions: 2011 “Maniac - Manic episode 2”,Sacramento /CA/USA and Reynolds Gallery/Stockton/CA/USA, 2012; „Inspired by nature“, Galerie Aquabit,Berlin/Germany; 2013 “why not....” Biennial International d`art non-objective, Pont de Claix/France; 2013 „Manic Episode 4, MANIAC visits Groningen“ T.A.S Groningen/The Netherlands; 2014 „Interactions“, Factory 49 Sydney/Australia, „The Blue Square Project“, Articulate upstairs Gallery Sydney/Australia; 2014 IAP Image Archive Project A/B/C ontemporary Armin Berger Gallery/Zuerich/Switzerland; 2015 „still in motion“ E.M. Gallery, Drachten/The Netherlands; „ansetzen“, x-pon-art Gallery Hamburg/Germany; 2015 „CARREMENT2“ Paris/ France, 2012 - 15 Salon Realites Nouvelles Paris/France. She lives and works in Hamburg. Statement To discover and experience the unknown, that which I sense, feel, or which has shocked me by inspiration …. being put into trance by drawing, to come to the other shore, to find out, unconsciously, highly concentrated and at the same time vacantly, not exercising control and yet as far as possible being precise …highly excited…to sharpen, then to sight… to realize drawings, to test them from all directions - is there one among them that experienced it? That has ‘it‘ - the secret? To me, the drawing is at the beginning.
Wilma Vissers www.wilmavissers.com
mixed media on brown coloured paper, 2015
Biography Wilma Vissers lives and works (1989) in Groningen in the Netherlands. Statement Her drawings are inspired by the use of space , material. These drawings are in between two and three dimensions because of the cuts and folds in the paper.
Youn-Ja Lee zaayonn.blogspot.com
size of each work: 31 x 32 cm, cutting, amish printed paper, 2016
Biography Born in South Korea. Graduated from Hong-ik University (graphic Design), Séoul. Lives in Pontoise (France). Regular exhibitions on geometric abstract works: Salon Réalités Nouvelles, Salon Comparaisons,… Statement Recently, I had the chance to glance again through the art book; “Amish, The Art of the Quilt” that I had bought 20 years ago and I fell in its beauty. The book published in 1990 gathers photos of 78x78 inches hand-made quilt works woven by Amish women. To fall in love with the beauty of those colors gives true happiness but in the same time, I felt the urge to pull the colours hidden inside the pages of the book and free them.Even if they were printed, I wanted to add some volume to the beautiful geometric shapes and colours in order to revive them and give them some fresh air to breathe. What I seek is not simple paper works that use the beauty of quilt art. In today’s excessive materialism and times of religious conflicts, the spirit of the Amish has a great resonance and that is why I feel it like an ideal.I have never met any Amish and never been where they live, but when I read their lifestyle and philosophy, it makes me want to be one of them. The car, the telephone, the computer and the electricity is part of my everyday life, so the fact that I want to refuse all these excessive conveniences of our modern civilization to become like the Amish who have been following traditions for 500 years with strictly definite clothing and hairstyle might just seem ridiculous.But their philosophy on non-violence, humble and peaceful life is what we need most in the world today and it gives us the chance to think deeply once again to what extent we have to accept and adapt ourselves to this overwhelming materialistic civilization, and to what extent we have to refuse them.
Espace des Arts Abstraits - Abstract Project, Paris 87
Marilyn Chapin Massey
Founder of “The Drawing Collective” Art Project :
The Drawing Collective - Paris Exhibition Curators :
Bogumila Strojna www.strojna.net
Exhibition & Vernissage Photographs :
Abstract Project - Paris
Exhibition Gallery : Espace des Arts Abstraits - Abstract Project, Paris www.abstract-project.com
Catalogue Design :
www.geometrivesanat.com Copyright © The Drawing Collective Artists 2016
The Drawing Collective International Art Project
Espace des Arts Abstraits - Abstract Project, Paris 2016