The Drawing Collective 2

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The Drawing Collective International Art Project

Galerie Olivier Nouvellet, Paris 2017

The Drawing Collective International Art Project

Galerie Olivier Nouvellet, Paris 2017

21 - 25 March 2017 Galerie Olivier Nouvellet 19 rue de Seine - 75006 Paris Tel 01 43 29 43 15

Drawing Collective Paris 2017 showcases the works of the members of the Drawing Collective, an international group of artists from nine countries.

As we continue to explore the multiple forms of contemporary drawing in our individual practices, the Collective strives to expand with the inclusion of artists with similar inclinations from a wider geographic reach. We remain dedicated to our mission to form connections among artists across borders and cultural divides, always in search of the universal common ground through our work and interactions, the seed of unity. We are deeply honored to be hosted this year by Galerie Olivier Nouvellet, a gallery with a remarkable presence in the cultural center of Paris. We thank Olivier Nouvellet, the director of the gallery and Christine Boiry, our member curator for their dedicated effort in bringing this show together. I feel very honored to offer my deepest gratitude to our member artist Erdem Kucuk-Koroglu for his ongoing effort in designing and publishing our catalogs. His generosity and untiring dedication was key in bringing this beautiful catalog to life. Last but not least I would like to thank the members of our collective and our guests for their enthusiastic participation. Sincerely Munira Naqui Founder The Drawing Collective January, 2017

Anne Brochot (FR) Barbara Halnan (AU) Bogumila Strojna (FR) Christine Boiry (FR) Clint Fulkerson (USA) Daniel G.Hill (USA) Danielle Lescot (FR) Diane Scott (NZ) Ellen Golden (USA) Emma Langridge (AU) Erdem Kucuk-Koroglu (TR) Jamel Sghaier (DE) Liz Davidson (CA) Margaret Roberts (AU) Marilyn Chapin Massey (FR) Michael Perlbach (DE) Munira Naqui (USA) Richard van der Aa (FR) Sam Still (USA) Tineke Porck (NL) Trương Thành (VN) Wahida Azhari (DE) Wilma Vissers (NL)


André Geertse (NL)

AndrĂŠ Geertse

Project Europa: 15.05.2016 29 x 21 cm mixed media on paper

/ NL

Project Europa: 15.05.2016 29 x 21 cm mixed media on paper

Biography The artist, AndrĂŠ Geertse (1959), was born in the 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. At the moment, his studio is still in this town. Statement The works on paper for the exhibition are from a project called Europa. This project consists of works on paper with subjects such as language, abstract shapes and color. The artworks have a base in abstract and minimal art. There is a certain stylistic freedom and plurality which is characteristic for the world we are living in. The workgroup Europa deals with various questions; such as what is a nation, what is a culture and what is a border. Can art overcome these limits? All these subjects evoke emotions, thoughts and concepts. The poetic language is sometimes expressed aggressive, sometimes playful or serene.



Anne Brochot

/ FR

Untitled 30 x 14.5 cm + 41 x 30 cm graphite on paper 2016

Biography Anne Brochot was born in 1960 in France. At the age of 30, she studied architecture in Paris and began installations. Statement Whatever the nature or scale of my work, the search for a certain poetic of the ordinary emphasizes the process and the use of ordinary materials. The use of simple shapes proceeds less from a geometry of the ruler and compass than from an original geometry linked to the structure.



Barbara Halnan

Layered drawing #1 (Purple/Yellow) 25 x 25 cm coloured pencil on paper; black and white découpage 2017

/ AU

Layered drawing #2 (Red/Yellow) 25 x 25 cm coloured pencil on paper; black and white découpage 2016

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 My current work is concerned with layering - the interest lies in the visual interaction between the system used in each layer. After quite a long time working with neutrals - black and metallics, or black and greys - I have recently started using colour, both in drawing and in painting. The works consist of three layers: a drawing in two contrasting colours is overlaid with two layers of paper, black and white, each cut into a pattern of lines.



Bogumila Strojna

Spaces Generator 24 x 30 x 3 cm Tracing paper, plexiglass 2017

/ FR

Spaces Generator 31 x 30 x 3 cm Tracing paper, plexiglass 2017

Biography Bogumila Strojna is a French/Polish artist living and working in France. For several years, she has exhibited in the Salon de Réalités Nouvelles where she is a member of the committee and the committee of the gallery Abstract Project, launched by the Salon in 2014. She is represented by Galerie Victor Sfez in Paris. Her work is in private collections including the Satoru Sato Art Museum (Tome City, Japan) and the collection of CCNOA (Center for Contemporary Non-Objective Art, Brussels, Belgium). She has made several monumental works in public spaces (Matour in Burgundy, Altier in Languedoc-Roussillon, Midi-Pyrenees) as well as projects for institutions in France (1% artistique à La Courneuve). She exhibits regularly in France (Galerie Victor Sfez, Galerie Olivier Nouvellet, ParisCONCRET, Abstract Project, Espace Christianne Peugeot, Hang Art), as well as internationally in Germany (Hamburg, Edges to Emptiness, open studio), the Netherlands (gallérie EM in Drachten), Australia (Factory 49, SNO and Articulate Project Space in Sydney) and in China (Museum of Fine Art, Beijing, Sculpture Art Museum, Qingdao). Her latest artist’s residency took place in Conacul, Romania, in 2015. Statement In this series of drawings* I explore the notion of the space within the work and its relationship to the physical space in which the work is located. The drawing is detached from the wall by a device that projects it into three-dimensional space. Via the interplay of transparencies and reflexions (of the support and the paper), the environment participates optically in how the drawing is perceived. The drawing/object in turn modifies the perception of its environment. The mechanics of the drawing’s presentation contribute to the distortion of its form by gravity, provoking a surprise when the viewer’s perception engages in a mental reconstruction that enables the drawing to be recognized. * “Spaces generator” series



Christine Boiry

Back Home 1 diptych - circle 23 cm diameter shellac base ink on 640g watercolour paper 2017

/ FR

Back Home 2 diptych - square 23 x 23 cm shellac base ink on 640g watercolour paper 2017

Biography Living in my childhood in a space characterized by void and silence, my mother loving Japanese culture, I transmit this experience in my work through its reductive character and its subtle shades of colour. Rhythm is very important for me and I am used to play with the dynamic interaction of different pieces, between themselves and the surface of the wall. Through its composition and variation of shades, my art creates « a musical time and space, continuous /intermittent » as written by the french art philosopher Fernand Fournier. Statement For the series of ‘The Drawing Collective Paris’, i created a diptych, pursuing my work on construction/deconstruction about square and curve as before shown at « Abstract Project » in 2016. (Pop Up factory 49 , 70 ans Réalités Nouvelles): I cut out the circle in the center of the square, put it above, like he was on his way home...



Clint Fulkerson

Fibonacci Progression 1 30 x 24 cm gouache on paper 2016


Linear Progression 1 30 x 24 cm gouache on paper 2016

Biography Clint Fulkerson lives in Portland, Maine, United States with his wife and 5 year-old daughter. He has a BFA in Metals from Massachusetts College Art, but has been primarily a 2D artist since 2005, and has shown extensively in the Northeast US. He has recently completed 3 public art projects in Maine, a mural for Facebook offices in NYC, and is currently designing a wallpaper for Google offices in Boulder, CO. Statement My artwork features complex patterns and forms made by an accumulation of hand drawn marks. Each new mark is applied in response to the previous one and so on. For each piece I set up a starting condition and devise a set of rules, which are much like algorithms, that limit what and how forms develop. Beginning a piece is a moment of unlimited potential and the final results are often unexpected, which I find extremely exciting. I use this emergent process regardless of the media I choose, and I typically make drawings, prints, and paintings closely related to the artistic tradition of geometric abstraction.



Daniel G. Hill


DCP 1 A4 (29.7 x 21 cm) pencil on paper 2017

DCP 2 A4 (29.7 x 21 cm) pencil on paper 2017

Biography Daniel G. Hill was born in 1956 in Providence, R.I. He received a B.A., Magna Cum Laude, from Brown University and an M.F.A. from Hunter College, C.U.N.Y. He lives and works in New York City. He is an Assistant Professor of Fine Arts at the Parsons School of Design and has been the President of American Abstract Artists since 2013. Hill is a multi-disciplinary artist who has worked in sculpture, installation, painting, photography and digital media. He has exhibited in the U.S. for over 35 years and, more recently, in Europe, Asia and Central America. His work is held in the collections of the Metropolitan Museum of Art; MoMA Library Special Collection; New York Public Library; Phillips Collection; Cleveland Museum of Art; Whitney Museum of American Art, The Frances Mulhall Achilles Library; Yale University Art Gallery; US Embassy, Beijing Embassy Annex, US Department of State. He is the recipient of a fellowship in painting from the National Endowment for the Arts. Statement Currently, my work is at one end of a pendulum swing in the sense that I am now more fixated on the work’s method of construction and its physical presence than I had been in recent years. All of the works use humble materials and processes, which are intrinsic to the resulting forms. But a common aspect of all of my work is the tendency to give rise to the questions, “What am I looking at, how do I relate to it and how do I understand it?” Such self-reflexive viewing is my goal, as an artist’s role is to remind us of our capacity to wonder. Since my return to working three-dimensionally, I have been doing much more drawing. I draw to develop ideas about both the structure and the gesture of a piece. Some drawings remain very loose, while the ones in this exhibition have become much more resolved as images. As the drawings become more resolved as images, they are less likely to develop into sculptures. They take on a life of their own that doesn’t require further material realization.



Danielle Lescot

Untitled A4 (29.7 x 21 cm) coloured pencil on paper 2016

/ FR

Untitled A4 (29.7 x 21 cm) coloured pencil on paper 2016

Biography Danielle Lescot works in ceramic and practises drawing in her studio in Paris 12 - France. Statement Following each other in parallel, ceramic and drawing are moved by the same desire to explore, proceeding by stages. Since 2015, the pattern of the triangle is used as articulate forms. The colors separate the different surfaces on paper as in volumes, as geometric rocks.



Diane Scott

/ NZ

Light Fall 46 x 30 cm graphite, acrylic, enamel on Hahnemuhle 300 g/m matt paper 2017

Biography Diane Scott graduated in 2012 with an MFA (first class) from the Elam School of Fine Arts, Auckland. In 2012 she received the Elam Prize for Painting and was the winner of The Glaistor 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. Statement I’m interested in the perception and experience of light and space. Using the spatial qualities of composition, orientation, materiality and light, to simultaneously make space visible and to bend it. Seeking to locate the work within the ‘now’ of experience and the ‘now’ of our time so that it functions atmospherically and counter historically; allowing a direct viewer experience. I am interested in the idea of the Prime Object: a work that contains fundamental ideas, that do not have to be seen or known by the viewer explicitly, the work will exert it’s power regardless.



Ellen Golden


Fracture I 8 x 6 inch ink on paper 2016

Fracture II 8 x 6 inch ink on paper 2016

Biography I began to study art as a child and continued well into my twenties before life took me in other directions. I began drawing as a serious practice a decade ago and work out of a studio in Brunswick, Maine. 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 – 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

Drawing#1 / 2017 A4 (29.7 x 21 cm) ballpoint pen on paper 2017

/ AU

Drawing#2 / 2017 A4 (29.7 x 21 cm) ballpoint pen on paper 2017

Biography Emma Langridge is a Melbourne-based painter, who has participated in numerous exhibitions around Australia and internationally. Her work is held by Artbank, Bankwest, Benalla Art Gallery, Edith Cowan University, the Holmes å Court collection and the Centre for Contemporary Non-Objective Art. Shortlisted for several art prizes, she is represented by Houston based gallery Gray Contemporary. Statement Her work is made using self-imposed rules and limited materials and explores the space where change itself develops, given these restrictions.



Erdem Kucuk-Koroglu

Continuity #1 A4 (29.7 x 21 cm) calligraphy pen on paper 2017

/ TR

Continuity #2 A4 (29.7 x 21 cm) calligraphy pen on paper 2017

Biography Erdem Küçükköroğlu was born in 1979, Istanbul. He has a Bachelor of Science degree in mathematics from Istanbul University. He currently lives in İstanbul and works as a graphic designer. Selected Exhibitions ‘Salon des Réalités Nouvelles 2016’, Paris - France ‘Miniscules’, 2016, Galerie Badweg 3 Bolsward - Netherlands ‘The Drawing Collective Paris 2016’, Espace des Arts Abstraits Paris - France ‘ArtTurkey Japan 2016’, Machida City Museum of Graphic Arts Tokyo - Japan ‘Salon des Réalités Nouvelles 2015’, Paris - France ‘ArtProtagonist 2015’, Villa Contarini Piazzola sul Brenta Padova - Italy ‘Salon des Réalités Nouvelles 2014’, Paris - France ‘Salon des Réalités Nouvelles - Hors les murs à Beijing’, 2004, Pékin - China ‘30/30 Image Archive Project (IAP) #7/SNO108’, 2014, SNO Sydney - Australia ‘International Biennial of Drawing Pilsen 2014’, Museum of West Bohemia Pilsen - Czech Republic ‘30/30 Image Archive Project (IAP) #4’, 2014, ABContemporary Zurich - Switzerland ‘Forårsudstillingen The Spring Exhibition 2013’, Kunsthal Charlottenborg Copenhagen - Denmark ‘Salon des Réalités Nouvelles 2013’, Paris - France Statement My drawings are based on the idea of impossible objects and continuous lines which complete the whole shape from start to the end, without any interruption. For the ‘Drawing Collective’ art project, i draw continuous lines which have the visual aesthetics and rhythms of calligraphy.



Jamel Sghaier

/ DE

Composition 1 27.5 x 22.5 cm acrylic and posca on cardboard 2017

Composition 2 27.5 x 22.5 cm acrylic and posca on cardboard 2017

Biography Jamel Sghaier was born in Tunis, and now Germany is a second home for him. He lives and works in Bielefeld. After he graduated from high school as officer of merchant marine, he began to travel around the world as he is attracted by the sea and large spaces, and he often drew and painted on the outdated nautical charts. From 1986 he began to show regularly his work in several places in Tunis and internationally. After a short figurative period his work became geometrical minimalist. Statement My experience of art is an existential opportunity of questioning matter and the act of doing something from it. The work is the result of a meditative process, and is also a kind of answer to the question < What is the pure doing from what I have here and now ? > I discovered that forms and colours can be expressive by themselves in a very personal and creative way, and they have inside them the potential and force, and they can be meaningful in building my art without the need of any outside references.



Liz Davidson

/ CA

Paris1 30.48 x 22.86 cm charcoal on Stonehenge paper 2017

Paris2 30.48 x 22.86 cm charcoal on Stonehenge paper 2017

Biography Born in Montréal, Liz grew up in Toronto and attended The Ontario College of Art, where she graduated in sculpture. The next year she followed her family back to Québec and enrolled in a M.F.A. program at Sir George Williams University (now Concordia). Falling in love with a fellow artist, painter John Ballantyne, she moved to the townships, and has lived there ever since in a small town, in a small house with large studios and a large garden. Her work is not linear, not conceptual, rather it’s instinctive and internal in the romantic tradition. It has allowed her to bring together all the elements she loves most. It’s a gathering, a collage, a wholeness, and at the same time a paring away, a letting go of the superfluous. In many ways Liz’s work is a metaphor for our lives, it’s about hope and despair and finding a home for each, it’s about being human enough, and open enough, and vulnerable enough and courageous enough to live with not just the light, but the shadow. In the end it’s about becoming fully human. Statement The main focus of my work for the past few years has been to simplify, to pare away, to use what is basic in the artists repertoire; my hand, a pencil, a brush, ink, charcoal, paper. And it all starts with that first gesture or mark, a line, be it thick or thin, bold or tentative. And it depends on my intent on using my personal energy so that sometimes the lines are bursting about, wild with life and sometimes they are quiet and reflective. It’s been a hugely pleasurable process as one line leads to the next and starts a conversation. Often the pleasure has been how charcoal and paper greet each other and start to sing. In this body of work there is a hoping and longing that in these explorations my great love of minimal and my great love of expressive would become less separate and more of a whole. Doing some research on line/lines I found a sweet fact, that in geometry, lines are a primitive concept. For some reason that pleases me. These works are a result of my explorations.



Margaret Roberts

Waiting (Katarzyna Kobro, Spatial Compositions #3 + #4 1928-9) folded 25 x 35 cm unfolded 85 x 135 cm graphite on tissue 2017

/ AU

Waiting (Katarzyna Kobro, Spatial Compositions #5 + #6 1929-31) folded 25 x 35 cm unfolded 85 x 135 cm graphite on tissue 2017

Biography The two Waiting drawings document Katarzyna Kobro’s Spatial Compositions #3,4, 5,and 6, each of which was made around 1930. Each drawing is the life-sized pattern for two of these Spatial Compositions, folded to suit the smaller space of the archive. They are life-size to keep faith with the importance Katarzyna Kobro placed on the spatial nature of her work. This importance is seen in the equal relationship she constructed between her work and its location, which she described in 1929 as: Sculpture is a part of the space in which it is located... Sculpture enters space and space enters the sculpture. Statement The Waiting drawings are also made in this way to reassert the value of actual space now, several decades later, when the tragic consequences of the ongoing disregard for the spatial environment are more commonly known. They aim to do this by documenting the sculptures at their first stage, with their ‘life’ still in front of them. They are part of a wider body of reconstructions that emphasise the importance spatial artists give to actual space, by presenting their work as incomplete—as it seems more difficult to overlook the actual space in which something is located if we are still waiting for it to arrive. Images of these works, mainly from 2013 onwards, can be seen on



Marilyn Chapin Massey

Untitled 25 x 25 cm inkjet on paper 2017

/ FR

Untitled 25 x 25 cm inkjet on paper 2017

Biography I retired to Paris 15 years ago. In order to train my eyes to truly see my new city, I began drawing and suddenly I knew I wanted to keep doing this forever. I have taken classes 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, Artistes á la Bastille and Galerie Olivier Nouvellet. Internationally, I have shown work at Art Miami and at an individual show in Washington, DC. Statement These drawings are a result of my love for random color combinations. They are drawn from the data of horse racing at Deauville, France, December 7-10, 2016. The colors used here are the official colors of the jockeys’ silks used in the French racing system. Each color represents a horse. The placement of the color is determined by where that horse finished the race from 1-10 (10 being used for 10th or worse) in its last five races. Each chart contains data from two races. To follow the form of a horse, track a color from left to right. I created these on the computer; they were produced on an inkjet printer.



Michael Perlbach

zaxis 1 35 x 16 cm black ink on bristol cardboard 2017

/ DE

zaxis 2 35 x 21 cm black ink on bristol cardboard 2017

Biography 1963 born in Frankfurt am Main, Germany 1978 first black ink drawings and experiments with ornaments and fine structures 1989 begin studies at the university of Mainz (philosophy, art history, political sciences) 1991 first exhibition participation - „Quadratisch, Eckig, Kunst“ 1991 - 1997 Experiments width photorealistic drawings. Begin of the series „portrayed self“ 1998 - 2006 Programming jobs for diverse customers, experiments with digital photography 1999 Quit university 2006 Decision to start an art career 2008 starting with black ink drawings 2009 made a Facebook account 2010 first studio 2012 - 2016 Participation in diverse exhibitions Selected Exhibitions 2013 Manic Episode IV, (Groningen, Netherlands), 2014 Mail Art, Hang‘Art Galerie (Grenoble, France), 2016 Abstract Project #21 The Drawing Collective (Paris, France), 2016 Artflash (Hamburg, Germany), 2016 Edges: Soft/Hard (Galerie Olivier Nouvellet, Paris, France) Statement I am a visual artist currently mainly working on the fields of digital photography and drawing. The motivation for my photography is to find out how reality - as visual sensual data - can be turned into more than just something the beholder can see. My aim is to provide photographies which provide a visual experience for the beholder. This task requires a high quality level of image manipulation and the highest resolution affordable. In my drawings, I mainly work with black ink, sometimes with pencil, rarely with colored pencil. My drawing is motivated by • The pure joy of drawing shapes, patterns and structures • To provide an experience of the complexity of the world for the beholder by entangling the micro and macro level. In order to resolve structures on a micro level I use a technique I dubbed „dissolution“: Everything on a drawing is built up on extreme tiny microstructures. So the process of making these drawings is time consuming and requires a high level of skill, patience and planning. But as I found out: The desired outcome is not possible with any other drawing technique. • To find out the technical and visual limits of the medium „drawing“. 40


Munira Naqui


Lines 1 20 x 20 cm Graphite, wax and pencil on paper 2017

Lines 2 20 x 30 cm Graphite, wax and pencil on paper 2017

Biography Munira Naqui was born in Chittagong on the eastern coast of the Bay of Bengal. USA has been home for her since 1981. She currently lives and works in Portland, Maine. Statement Drawing has always been a meditative practice for me. It is a quiet space where I think and worry seeking clarity for my thoughts away from the chaos and distress of the world outside. It is my retreat. My drawings reflect my need for understanding, order and peace. They trace the trajectory of my thoughts from raw, unformed to the defined shape it takes in the simplest possible way. Never really complete.



Richard van der Aa

Cameo no.55 25 x 25 cm Gesso and enamel on 450gsm Paper 2016

/ FR

Cameo no.53 25 x 25 cm Gesso and enamel on 450gsm Paper 2016

Biography Richard van der Aa lives and works in Paris, France. He was born in Christchurch, New Zealand in 1963. After studying painting at the University of Canterbury and graduating in 1985, he moved to Sydney, Australia. From 1998 to 2004 van der Aa was Faculty Head of Visual Arts at the School of Creative Arts, Oxford Falls, Sydney, and he completed a Master of Fine Arts at COFA (University of NSW) in 2004. In 2005 van der Aa moved to Paris, France. In 2009, he and his wife Anna established the ParisCONCRET association for the dissemination of reductive abstract art. Van der Aa presented his first solo exhibition at the C.S.A. Gallery in Christchurch, NZ in 1985. His work has since been exhibited extensively in Australia and New Zealand, and in recent years, in the Netherlands, France, Germany, Poland, the UK and the USA. Statement A recurring interest in my work is to locate painting at the point of tension which exists between object and image.



Sam Still


17.005 (2017. 22.86 x 20.32 cm. / 9 x 8 in. Higgins India ink + Kosuth ash on Arches 300 lb hot press watercolor paper 2017

17.005 (2017. 22.86 x 20.32 cm. / 9 x 8 in. Higgins India ink + Kosuth ash on Arches 300 lb hot press watercolor paper 2017

Biography “Our heads are round so our thoughts can change direction.” ― Francis Picabia Statement I arrange with a conversation in mind. Best thriving when arranging intimate thoughts brought together in conversation. Conversations with an individual work or a series, are fluid. There is a birth, an awakening, a fresh conversation with subsequent encounters. There is knowledge encountered and discarded. The constant rearrangement, for all invested, of encountered arrangements.



Tineke Porck

/ NL

Single Points 24 x 32 cm watercolour pencil on paper 2017

Double Points 32 x 24 cm watercolour pencil on paper 2017

Biography Tineke Porck (1954, Holland) Education: Free Academy for visual arts, The Hague 1989-1994 Statement My work is on essentials as line, point and plane. Representing basics of life. It tends to be constructive art with a blink towards zero and minimal art. In these specific drawings structures of points are shown in a simplified manner. The materials used are watercolour pencil and paper.



Trương Thành

/ VN

Intersection A4 (29.7 x 21 cm) offset ink on paper 2017

Intersection A4 (29.7 x 21 cm) offset ink on paper 2017

Biography Truong Thanh was born in 1979 in Hai Duong and majored in Architecture at Hanoi University of Civil Engineering. During his time working in Vietnam, Thanh has participated in some science researches and gained his global intellectual property certificate WIPO (UNDP) in 2002, as well as other architecture awards. Working in the engineering field has formed in Thanh sensitivities towards textures. With an urge to bring out the intrinsic beauty in things through the fine art perspective, Thanh started painting in May 2013. The subjects in his series of work are structural forms with visual interpretations of external force - reaction force, stress, internal force, deformation and transposition. Statement His mediums are geometrical objects and original / block colors. Similar to how he solves a structure problem, Thanh develop his work following the approximate stimulation method. He first assumes the shape and size of subjects, then replace the real structure with simplified diagrams and representative images – shapes, after which analyses their reactions against the forces, and based on that, he choose to represent some of the most important aesthetic interaction processes in the structural system.



Wahida Azhari

Untitled 27 x 27 cm pencil and acrylic on paper 2017

/ DE

Untitled 27 x 27 cm pencil and acrylic on paper 2017

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 has exhibited nationally and internationally. Selected exhibitions include: Maniac: Manic Episode 2, Sacramento, CA, USA and Reynolds Gallery, Stockton, CA,USA, 2011; Inspired by Nature, Galerie Aquabit, Berlin, Germany, 2012; 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, 2013; Interactions, Factory49 Sydney, Australia, 2014; The Blue Square Project, Articulate, Sydney, Australia, 2014; IAP Image Archive Project, A/B/Contemporary, Armin Berger Gallery, Zurich, Switzerland, 2014; Still in Motion, EM Gallery, Drachten, The Netherlands, 2015; Ansetzen, x-pon-art Gallery, Hamburg, Germany, 2015; CARREMENT2 Paris, France, 2015; The Drawing Collective, Abstract Project, Paris, France, 2016; The Flying Field, Steinstraße 28, Berlin,Germany, 2016; ZEUXIS -Art Gallery, 26 rue Martignac, 75007 Paris, France, 2016: Galerie Olivier Nouvellet, Rue de Seine, Paris, France, 2016; Salon Realites Nouvelles, Paris, France, 2012–16. Wahida Azhari 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

Untitled 12 cm goauche, gesso on wall paper 2016

/ NL

Untitled 21.5 cm Oilsticks on wall paper, folded 2016

Biography Wilma Vissers lives and works (1989) in Groningen in the Netherlands. Statement The drawings are made out of wallpaper shaped into a form. In these drawings i am curious where the border is between object and drawing.












Founder of “The Drawing Collective” Art Project : Munira Naqui

The Drawing Collective - Paris Exhibition Curators : Munira Naqui Christine Boiry

Exhibition Gallery : Galerie Olivier Nouvellet, Paris

Exhibition Photographs : Michael Perlbach Christine Boiry

Catalogue Design : Erdem Kucuk-Koroglu

Copyright © The Drawing Collective Artists 2017

The Drawing Collective International Art Project

Galerie Olivier Nouvellet, Paris 2017