The Drawing Collective 3

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The Drawing Collective International Art Project

ArticulateUpstairs, Sydney 2017

The Drawing Collective International Art Project

ArticulateUpstairs, Sydney 2017

13 April - 1 May 2017 ArticulateUpstairs 497 Parramatta Road, Leichhardt, NSW 2040 Sydney

Drawing Collective Sydney 2017 showcases the work of the members of the Collective and their guests in ArticulateUpstairs, a place known for its commitment to contemporary art.

Member artists and guests from ten countries are featured in this exhibition. Various forms of contemporary drawing with novel ideas, approaches and mediums are explored. The Drawing Collective is a virtual community of artists who draw as part of their individual practice and are committed to our mission to establish connections among artists across borders and cultural divides. We are united in our search for the universal common ground though our work and interactions. We are deeply honored to be hosted by Articulate Upstairs in Sydney. We thank the directors of this organization and our member curator Barbara Halnan for this opportunity and dedicated effort in organizing this show. I feel very honored to offer my deepest gratitude to our member artist Erdem Kucuk-Koroglu for his ongoing effort 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 March, 2017

At the exhibition in Paris I suggested that I may be able to organise another exhibition at Articulate Project Space (the gallery upstairs, known as Articulate Upstairs). The space is run by a collective, and I have had links with it from its beginnings about 5 years ago. What attracts me to the upstairs gallery space is the fact that it is ideal for showing work on the walls, and because it is not a “white box” gallery space, it has an appealing openness. The space allows for work to be seen in a different way. I also suggested, having seen Daniel Hill’s very beautiful artist’s books at his exhibition in Paris last year, that it could be interesting to include the idea of handmade books incorporating some kind of drawing into the exhibition, and indeed several artists have risen to this challenge. Why books? There is, of course, a long tradition of books of various kinds being made by artists. They allow for constructional ideas to be developed in a more three dimensional way than with drawings (or works on paper) hung on a wall. In this exhibition I have also wanted to display the wealth and diversity of the work of the collective, and also perhaps to expand the notion of what a drawing can be. It is a great pity that distance has meant that many of the artists will not be able to come to Sydney for this third exhibition from the Drawing Collective established in 2014 by Munira Naqui with the very able help of Erdem KucukKoroglu. Barbara Halnan


Barbara Halnan (AU) Bogumila Strojna (PL-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) Gary Shaw (UK) Jamel Sghaier (DE) Liz Davidson (CA) Margaret Roberts (AU) Marilyn Chapin Massey (FR) Marlene Sarroff (AU) Michael Perlbach (DE) Munira Naqui (USA) Sam Still (USA) Trương Thành (VN) Wahida Azhari (DE) Wilma Vissers (NL)


André Geertse (NL)

AndrĂŠ Geertse

Project Europa: 11.08.2016 29.5 x 20.5 cm mixed media on paper 2016

/ NL

Project Europa: 15.05.2016 29.5 x 20.5 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.



Barbara Halnan

Layered drawing 17 x 29.7 cm coloured pencil on paper; découpage 2017

/ AU

Layered drawing 17 x 29.7 cm coloured pencil on paper; découpage 2017

Biography Originally from Perth, Western Australia, I did my degree in French language and literature at WA University. 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 For this exhibition I have been working on two fronts: firstly the construction of two small concertina books which explore the notion of positive and negative space within drawing, and secondly further development of layered drawings which deal with interactive patterning. These drawings are a continuation of the work I sent to Paris - continuing the use of colour (in this case coloured pencil) set behind two layers of cut paper. Barbara Halnan 2017

Red Book 17 x 17.5 cm Paper, pen and ink, binding: red silk on card 2016 / 2017



Bogumila Strojna

Spaces Generator 24 x 30 cm ink jet print, paper Hahnemühle photo rag 308 g 2017


Spaces Generator 24 x 30 cm tracing paper 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 For the third exhibition of the Drawing Collective, i created a very short series of three drawings based on the series realized for the Collective’s second exhibition. I wanted to reconfigure the relationship between drawing and space, abandoning the previously explored three-dimensionality in favor of the two-dimensional relationship of object to wall that is evoked by cut-out spaces within the form. Spaces Generator 29.7 x 42 cm ink jet print, paper Hahnemühle photo rag 308 g 2017



Christine Boiry

/ FR

Australian Earth Quadriptyc, four pieces 28 to 30 cm diameter shellac based ink on 640 g watercolour paper 2017

Biography Living in my childhold, in a space characterized by void and silence, as my mother loved japanese culture, I transmit this experience in my work trough 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 wrote the french art philosopher Fernand Fournier. Statement For The Drawing Collective Sydney 2017, I present « Australain Earth » inspired by the shade of colour of australian ground through a work on construction/deconstruction and emptiness/fullness of the center : a quadriptyc in a vertical line built with polygone and circular shapes. Circles embodied curved tangled squares that, for the last piece, relievied themselves to appear by their own. The top piece is the matrix one : its shape can include each of the three following one.



Clint Fulkerson

Fibonacci Progression 2 31 x 23 cm gouache on paper 2016


Linear Progression 3 31 x 23 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


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

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

DCS 3 A4 (29.7 x 21 cm) pencil on paper 2017

Biography Daniel G. 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. 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. Statement 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 others 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. The drawings presented here are at various levels of resolution. The possibilities are still open.

DCS 4 A4 (29.7 x 21 cm) pencil on paper, 2017



Danielle Lescot

160805 A3 (29.7 x 42 cm) coloured pencil on paper 2016

/ FR

160906 A3 (29.7 x 42 cm) coloured pencil on paper 2016

161021 A3 (29.7 x 42 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.

160907 A3 (29.7 x 42 cm) coloured pencil on paper 2016



Diane Scott

/ NZ

Light Fall II 56 x 76 cm graphite, acrylic on “Leonardo” rau 600 g/m² 100% cotton 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


Mid-Winter 12 x 9 inch ink on paper 2017

Oases 12 x 9 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

Terrain I A4 (29.7 x 21 cm) ballpoint pen on paper 2017

/ AU

Terrain II A4 (29.7 x 21 cm) ballpoint pen on paper 2017

Terrain III 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 My work is made using self-imposed rules and limited materials and exploring the space where change itself develops, given these restrictions.

Terrain IV A4 (29.7 x 21 cm) ballpoint pen on paper 2017



Erdem Kucuk-Koroglu

Continuity #3 A4 (29.7 x 21 cm) calligraphy brush & water colour on paper 2017

/ TR

Continuity #4 A4 (29.7 x 21 cm) calligraphy brush & water colour on paper 2017

Biography Erdem 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: ‘The Drawing Collective Paris 2017’, Galerie Olivier Nouvellet Paris - France ‘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 ‘Salon des Réalités Nouvelles 2015’, Paris - France ‘ArtProtagonist 2015’, Villa Contarini Piazzola sul Brenta Padova - Italy ‘Salon des Réalités Nouvelles 2014’, Paris - France ‘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.

Continuity #3A A4 (29.7 x 21 cm) pen on paper 2017

Continuity #4A A4 (29.7 x 21 cm) pen on paper 2017



Gary Shaw

/ UK

Untitled 28 x 38 cm chinese ink on paper 2016

Untitled 14 x 19 cm water colour on paper 2015

Biography Although born in England, Gary Shaw lived and grew up in Adelaide where he studied for his first degree in fine art at the University of South Australia, where he had several group and solo shows before he moved to Belfast, Northern Ireland. He attained his Masters in Fine Art at the University of Ulster. His work has been shown as far afield as America (with 2 Residencies in New York), Australia, Canada (Banff Residency), China, Indonesia, Germany and Spain, as well as shows throughout the British Isles. The endless variety of patterns and colours has always appealed to Shaw, as witnessed by his blocks of solid colour, his painting of jockey’s silks, the maritime flags and the geometrical shapings used to communicate with the viewer. “Fields of colour, richly filled with pigments ... small pubbles of watercolour, meandering over the sheet ... Is it all sheer magic? Or pure mathematics?” Beate Lemcke, Berlin, 2009 on Shaw’s work. Statement My recent work celebrates symmetry, colour and decorative ornamentation with patterns that often evoke Islamic tiling, woven fabrics or patchwork quilts. By removing easily decipherable meanings, the works’ emphasis on repetition, detail and ornamentation has, in many ways, only increased.

Untitled 14 x 19 cm water colour on paper 2015



Jamel Sghaier

/ DE

Composition 1 27 x 22 cm acrylic and posca on paper 2017

Composition 2 27 x 22 cm acrylic and posca on paper 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

Sydney 1 30.48 x 22.86 cm charcoal on Stonehenge paper 2017

Sydney 2 30.48 x 22.86 cm charcoal on Stonehenge paper 2017

Pop up Book Strathmore paper, 11 in H x 7 in W when folded, 11 in. H x up to 90 in. when opened 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

/ AU

left: Waiting (Katarzyna Kobro, Spatial Compositions #1 1925 + #2 (1928)) folded 22 x 34 cm, unfolded 84 x 135 cm graphite on tissue, 2017 right: Waiting (Katarzyna Kobro, Spatial Compositions #7 1931 + #8 (1932)) folded 22 x 33 cm, unfolded 87 x 66 cm graphite on tissue, 2017

Biography The story of my work is the more interesting part of my biography. The two Waiting drawings in the Sydney Drawing Collective exhibition continue my reflections on the work of Katarzyna Kobro from the 1920s into the 1930s, in particular her interest in the relationships artworks construct with their locations, an interest that I have also long shared. Her work from this period is readymade for multiple reconstructions of each work’s core idea, as I have shown for example by my reconstructions of her Spatial Composition #2 into nine different works. The Waiting drawings in this exhibition include a tenth version of that work though here it is paired with another Spatial Composition, as is the case for each of the four Waiting drawings in the two 2017 Drawing Collective exhibitions. Statement I can’t explain at the moment why I paired each of them. The important thing is that I saw a way in which the conventions of drawing can be used in my growing body of reconstructions of Kobro’s Spatial Compositions. These are reconstructed in ways that leave their future open—mainly to emphasise the importance of actual space in her works by incorporating the time and space in which we wait for the work to progress to completion. Drawing’s lineon-paper convention enabled me to make life-sized patterns of her eight (numbered and surviving) Spatial Compositions, from which materials can be cut to make each work. Using this form of drawing also enabled me to incorporate another of drawing’s traditions - of being something that is still ‘alive’ in the sense that its purpose is to transform into something else (a sculpture, a painting, a dress, a building etc)—to also emphasise their spatial content.



Marilyn Chapin Massey

untitled 20 x 40 cm inkjet on paper 2017

/ FR

untitled 20 x 40 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.



Marlene Sarroff

Diffusion 3 35 x 35 cm metal, plastic, tape 2017

/ AU

Diffusion 4 35 x 35 cm metal, plastic, tape 2017

Biography Marlene Sarroff lives and works in Sydney. Her qualifications include a Master of Art (Honours) from Sydney College of the Arts, University of Sydney, a Bachelor of Art Theory from the College of Fine Arts, University of New South Wales, Degree in Education, Melbourne University. She has exhibited her work regularly over the past 25 years in solo and group shows in Australia and Internationally. Is in many Public Collections including Hyundai Headquarters Seoul, Conrad Hilton, Bangkok, Hyatt Hotel, Hong Kong and Shangri - La Hotel, Shanghai and Coffs Harbour Regional Gallery and The Art Almanac Collection. Private Collections in Sydney, Melbourne, Perth, Gold Coast, Coffs Harbour, London, Dubai, Dusseldorf, Basel, Paris, Boston, Los Angeles, and Grenoble. Statement Marlene Sarroff’s material based practise, is driven by mass produced materials, that dictate the process undertaken. Experimentation is the essential element that drives the work. Using a minimal and reductive aesthetic, abstract ideas merge equally with the materials found from an urban industrial environment. In these works a dynamic combination of material, form and line playfully scatter across the surface indicating movement, randomness, a sense of playfulness with everything in Flux. This work has evolved from several found fine linear like metal frames encased by clear plastic with a imprinted grid embedded into it. Layers of thick tape and a thin line plastic is juxtaposed behind the gridded plastic to produce a series of line drawings that are presented as a series.



Michael Perlbach

basix 1a & basix 1b 32 cm diameter black ink on bristol cardboard 2016 / 2017

/ DE

basix 2a & basix 2b 32 cm diameter black ink on bristol cardboard 2016 / 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“. 42


Munira Naqui


Lines 1 20 x 20 cm pigment and wax on paper 2017

Lines 2 20 x 30 cm pigment and wax 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.

The Little Red Book of Lines 13 x 13.5 cm wax and pencil on paper 2017



Sam Still


17.003 (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

17.004 (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.



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 replaces the real structure with simplified diagrams and representative images – shapes, after which analyses their reactions against the forces, and based on that, he chooses to represent some of the most important aesthetic interaction processes in the structural system.



Wahida Azhari

/ DE

Untitled (Series Square Light Blue) 30 x 30 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. In this series I try to ‚move‘ the square, the square which is a symbol for tranquility - so that it gets a dynamic nature. In my work I create interacting forms and shapes and I try to find the ‘living’ balance, so that every form will achieve its highest activity and possibility in support of each other.



Wilma Vissers

/ NL

untitled 40 x 170 cm each drawing Graphite on folded paper 2017

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. Often i make use of material that has no neutral starting point. The character of this paper plays along with the line drawing i create upon it. This creates an organic image.

Falling Triangles 30 x 140 cm each drawing folded wallpaper, gouache 2016



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

The Drawing Collective - Sydney Exhibition Curators : Munira Naqui Barbara Halnan

Exhibition Gallery : ArticulateUpstairs, Sydney Catalogue Design : Erdem Kucuk-Koroglu Copyright © The Drawing Collective Artists 2017

The Drawing Collective International Art Project

ArticulateUpstairs, Sydney 2017