Drawing Paper 3

Page 1


I NTRODUCTION For the uninitiated, Drawing Paper is an occasional celebration of drawing published independently by its own contributors and curated and produced in Liverpool UK by Mike Carney and Jon Barraclough. Our theme for this issue is mapping. This was much debated. Issues 1 and 2 were not themed at the point of invitation and you may wonder why we felt it was necessary this time. In some respects a theme of mapping is both broad and all encompassing. It’s arguable that when ideas, feelings or sensations, abstract or otherwise are converted into drawings there is some form of mapping taking place. Struggling to objectify what we think in terms of drawing begins a process of deciding about how near or far, large or small, dark or light certain elements need to be. So this was a very gentle theme and it’s very interesting to see how the theme has shaped both our selection of artists and their responses. Some make a very oblique reference to mapping, others exploit more literal interpretations. Even simple maps are of real fascination and can show the location of things, journeys made or imagined and also provide us with a sort of vantage point – maybe a bird’s eye view, an x-ray or a vision or hallucination. Mapping is the term we can use to organise our ideas and to give others our point of view. To explain and to clarify that this is how it is. Maps can also have an aesthetic that is transferable to other drawing conventions. Whether working onto a two dimensional surface or constructing a three dimensional drawing, the void that exists before the marks or gestures begin to form begs questions about where and how to make a start. So we wanted to offer a very open call for submissions that would nevertheless produce threads of connectivity between the work of contributors. Once the ink has dried we’d be interested to know if you think this has worked.

Drawing Paper is a freely distributed, not for profit publication. It is funded and made possible solely by its contributors. Each artist pays an equal amount for their page which in total covers the production costs. With this model it is possible to be liberated from the tedious rigours of funding applications and criteria guidelines, enabling us to do things on our own terms – Drawing Paper is a logo and advert free zone. If you would like extra copies sent to you or your establishment please email us at something@mikesstudio.co.uk ... ... ... ... ... Sincere thanks to all our contributors for their support, encouragement and enthusiasm. Back cover photograph by Alexandra Wolkowicz All artworks copyright © The Artists Published May 2011 Published and designed in Liverpool, UK by Mike Carney and Jon Barraclough. www.mikesstudio.co.uk www.jonbarraclough.co.uk Printed in a limited edition of 3000 by Sharman and Company, Peterborough. www.sharmanandco.co.uk ... ... ... ... ... www.drawing-paper.tumblr.com

LEON E L CU N HA ‘Rdr _ 010’ Staedtler pigment liner on paper. 502 x 645mm. 2010

JAM ES CLAR KSON ‘Memphis Above’ Digitally conceived drawing. 2011

E M I LY SPE E D ‘Body/bag’ Ink and pencil on card and silver paper. 2010

M I KE CAR N EY ‘Inheritance’ Original ink drawings, scanned and digitally re-coloured. 130 x 88mm. 2010

E M MA G R EGORY ‘Contours on fungus’ Chinese ink and acrylic paint on cartridge paper. 595 x 835mm. 2011

CAT LAU IGAN ‘Untitled’ Graphite and colour pencil on paper. 279 x 203mm. 2010

H I LARY J U DD ‘Dancing Couples’ Graphite on paper. 2011

ROAN NA WE LLS ‘Drowning Victim, Coney Island beach New York, 1952’ Hand stitch on wool. 240 x 240mm. 2011

DAN I E L DE LU NA ‘DD021211’ Graphite on paper. 432 x 355mm. 2011

AI LI E R UTH E R FOR D ‘A wee diagram of how the ESP sponge will work’

G R E IG B U RGOYN E ‘Back chat’ Ink on paper. 420 x 594mm. 2011

J E N NY B E R NTSSON ‘One moment another, part II’ Collage. 720 x 520mm. 2011

KI M BAL QU IST B U MSTEAD ‘Touch Portrait – “George” ’ Graphite drawing on paper, Polaroid. 420 x 594mm, 90 x 110mm. 2011

M I KE O’SHAUG H N ESSY ‘Drawing and handwriting – there is something just too lovely about those places. e.e.cummings, he knew it.’ Pen, brush, Pentel and ink. 210 x 180mm. 2011

LAU R E NCE PAYOT ‘Coincidence System Drawing 2’ Black pen and sticky dots on paper. 420 x 840mm. 2011

MAR I NA B E R IO Left: ‘Burn Breathe Alisha 1’ Charcoal on paper. 510 x 510mm. 2008 (Private Collection, Paris, France)

Right: ‘Burn Breathe Marco 1’ Charcoal on paper. 510 x 510mm. 2008 (Courtesy Otto Zoo, Milan, Italy)

JON BAR RACLOUG H ‘Plant lives 6: Leafhair’ Graphite onto paper. 594 x 841mm. 2011

MATTH EW LLOYD ‘Untitled’ (from the self-published book I Went For a Walk) Pen, ink, pencil, charcoal on paper. 148 x 210mm. 2010

STEVE N APPLE BY ‘Thinking Painting no.1– Green Chair’ Mixed media. 300 x 400mm. 2011


STEVE N APPLE BY (UK) Steven Appleby has created cartoon strips for many newspapers including The Guardian, The Times, Frankfurter Allgemeine Zeitung, Die Zeit, The Sunday Telegraph and The Observer. His other works include the animated television series Captain Star; the musical play Crocs In Frocks (with Teresa Early & Roger Gosling); over 20 books, including Mr Concerned’s Talking Book of Home Therapy and Jim – the Nine Lives Of A Dysfunctional Cat; the series, Steven Appleby’s Normal Life, for BBC Radio 4, as well as paintings, prints and ceramics for numerous group and one-man exhibitions. Steven is currently drawing the cartoon strip Loomus for The Guardian; working on The Coffee Table Book Of Doom (with Art Lester); making an art installation; writing his first novel and contributing to a series of animated films (made by Linda McCarthy of Tiny Elephants Ltd) based on his cartoon strip Small Birds Singing. He lives, works and daydreams in South London. www.stevenappleby.com

JON BAR RACLOUG H (UK) Maybe we take plants for granted. We eat them, weed-kill them, harvest and modify them, prune them and behead them for our homes. They have a life force capable of pulling down our tallest structures and can crack and cover our concrete floors. They can poison us, heal us, get us high or low. We import them and export them, arrange them to suit our desires,segregate them and distort them. They give us air, shade and a tolerable climate, minerals, carbohydrates, vitamins and roughage and then turn our waste into life again. They were here before us and they will be here after us.

MAR I NA B E R IO (US) “Photographic negatives are drawn in charcoal on paper. Reversed tonalities undermine a simple reading. Images of light sources denote illumination but simultaneously allude to burning and destruction. Light bulbs and lamps are simple, even cliché when set in artists’ studios, but as negatives they peak of the darker sides of creative practice: solitude, burning of midnight oil, fears and ambivalences. Negatives are intermediary moments of imaging possibility, rather than statements of iconographic fact, a natural way to talk about loss and doubt.” www.marinaberio.info

J E N NY B E R NTSSON (Sweden) “I wish I had never gone to Mumbai, Kolkata, Istanbul, Tokyo, New York or London, the Atlantic Ocean. Or seen the wonderful buildings of the cities, the organism, the extraordinary views of the metaphysical exterior of Iceland in contrast to the lives of thousands and thousands. I can’t get it out of my head. In Mumbai, the under world is the over world, it is something that is on the edge and can come and hit you at any time it chooses. The small distance between two places, city and countryside, got visible in Kolkata, when I was seeing the homeless people who lived in the city as we once upon a time used to live in the forrest. The houses became their trees, the water channels their humble streams and the garbage heap their blueberry shrubbery. I went to Tokyo without a map. That is ridiculous. I had to locate myself. Look around. Read the walls around me (because I couldn’t understand the signs). I tried to locate myself.”

G R E IG B U RGOYN E (UK) Greig Burgoyne makes wall drawings that seek conceptually and physically to challenge the authority of architectural space. The results deliberately seek to overwhelm and expose the tensions between ourselves and built environment. Greig Burgoyne studied MA Painting at the Royal College of Art, London and the HAK Vienna. Recent solo projects in 2010/11 include Slipstream at Five Years London, Space Wrestlers City Arts Centre Edinburgh and Travelling Gallery currently touring Scotland, 50 drawings to murder magic at Centre for Recent Drawing, London, Where do you draw the line? at a space / Bargate monument Southampton, Back to the future at Hastings Museum and Art Gallery, Seein ain’t believin at Gracefield Galleries / Arts Centre for SW Scotland and The Future of Nostalgia at The Jerwood Space, London. His work has been published in numerous journals including Rubric and 20x20 Magazine. He is also Pathway Leader BA Fine Art at University for the Creative Arts at Farnham UK. www.greigburgoyne.com

M I KE CAR N EY (UK) Inspiration for my Inheritance series of drawings comes from looking at natural, organic textures found in the environment, and the work of Alfred Wainwright in his illustrated guidebooks to the English Lake District. Where Wainwright’s mark making vocabulary faithfully represents ‘real’ places – trees, grass, rock, scree – my own technique allows for ‘un-natural’ abstract, organic possibilities to emerge. Mike is a Liverpool based artist / designer and studio member of The Royal Standard artist collective and gallery. www.mikesstudio.co.uk

www.jennyberntsson.com www.local-a.org

KI M BAL B U MSTEAD (UK) Kimbal Quist Bumstead is a visual artist working in and between performance installation and drawing. Whether working alone, in collaboration with family, friends or strangers, Kimbal uses other people and their bodies as his working material.


Touch Portraits is a project that involves making portraits of strangers that he invites into his house for a private session. The stranger receives Kimbal’s house keys in the post, these two strangers do not see each other but share an intimate exploration of this stranger’s face using touch. The drawing is a choreographed mapping of the experience. Kimbal takes a Polaroid and the stranger leaves. The stranger is asked to invite another stranger to come next time. Kimbal lives and works in London, UK. www.kimbalbumstead.com

JAM ES CLAR KSON (UK) James Clarkson’s practice addresses a hedonistic idealism surrounding modernist art, design and interior living. He creates sculptures and collages, in which design objects are placed as references or cultural signifiers, exploring historical contradictions between high art & design and low-end mass production. He is interested in the relationship between form, functionalism and meaning as modes of value and experience. His work looks to the past as a means of understanding the way we live now, whilst retaining an ambiguity for past, present and future. www.james-clarkson.co.uk

LEON E L CU N HA (Portugal) “The rdr drawing series is the result of a generative process. The series, follows an approach from the part to the whole, using line segments, based on predetermined rules. These segments function as records (as if they were autonomous agents) that determine the plane at random. They begin at any point, filling the plane with variations in the position direction, size and pressure, determining surfaces that represent nothing beyond themselves. It is intended to build immersive images that cause an eye movement and a visual and ‘sonorous’ environment.” Degree in Fine Arts Painting from the Faculty of Fine Arts of the University of Porto, Portugal, 1995. Post-Graduation in Multimedia Technologies from the Faculty of Engineering of the University of Porto, Portugal, 2005. Leonel lives in Vila do Conde, northern Portugal. www.leonelcunha.net

\ DAN I E L DE LU NA (US) “In my work I frequently employ a series of overlaid grid forms which create syncopated rhythmic structures. I also make extensive use of the computer as a tool to work out compositional ideas as well as for the creation of elements generated by chance operations which are then transferred to the drawings. With most of the work there is an internal logic that the viewer can decipher with time. For example, the distance measurement of a set of horizontal intervals can be repeated in some fashion on the vertical axis. These simple compositional ideas become the container for the gestural activity. I desire to make work that is engaging yet challenging. My intent is to create an experience that has connections to the flows, forces, textures and rhythms we experience in everyday life.” www.dd3studio.com

E M MA G R EGORY (UK) “I grew up in London in a family whose main interests were art and nature. My grandfather printed newspapers back then and there was always the end of a paper roll standing in the corner of the kitchen. After school Mum would roll paper out over the kitchen table and we would sit and draw and eat bread. I am a visual person and my art is visual art. Drawing is very much its bedrock. I use drawing to tune my observational skills, to understand better whatever I’m drawing, to question the subject matter’s relationship to other points of reference (in this case contours, landscape from above, the contrast between man-made and organic). Also, I draw to play. Being playful seems to be incredibly important. Without it the outcome becomes predictable. Contours on fungus is a large image of a small thing. The ink was applied using a bunch of twigs which were hard to control but this was a good thing as it forced me to concentrate. The straight lines feeding the centre were printed through a flooded silk screen using a comb. I like the way they emphasise the near-regularity of the parallel lines in the fungus.” Emma studied fine art at Central School of Art & Design in the 1980’s, after which she spent the 1990’s working as an arts admin bod for organisations such as Yorkshire Dance, the Hayward Gallery and Royal Festival Hall, and Riverside Studios. In 2000 she retrained as an upholsterer before making sets and props for the Royal National Theatre and West End. She moved to Liverpool in 2002. More recently Emma re-established the Bluecoat’s intaglio print studio and added a screen printing facility, which she now runs.

MATTH EW LLOYD (UK) Matthew Lloyd is a Liverpool Based Artist. He is a member of the Red Wire Art Organisation and is the Director, Curator and Organizer of The Bohemia Space in Liverpool. He as exhibited his work in various areas around Liverpool including The Bluecoat, A Foundation, The International Gallery and St Luke’s Bombed-Out Church. He has also curated a number of exhibitions including; Unclaimed Photography, Metaphasia, Frankenwhore and Liverpool Art Now Part One. He is also the art critic for the arts and culture WAXXX magazine. Matthew is currently curating Contemporary Drawing at the Bohemia Space (Mello Mello Café, Liverpool) from 27 May to 16 July 2011. www.redwireredwire.com/page28.htm

M I KE O’SHAUG N ESSY (UK) Senior Lecturer in Graphic Arts / Illustration at Liverpool School of Art & Design / LJMU. Illustration clients have included Vogue Magazine, Penguin Books, Sony, BBC, Macallan Whisky, Harper Collins, Universal Music, The Royal Mail and Elbow.


CAT LAU IGAN (US) Born in Paris and raised in Oakland, Cat Lauigan moved to New York and studied illustration at Parsons School of Design. Her work reflects upon themes of mysticism, self discovery and inner struggle. Mostly working in graphite and colour pencil, she enjoys drawing while drinking genmaicha tea with honey and listening to 1990’s R&B. She also loves making prints and handmade books. She currently has work up in the Brooklyn Collective. www.catlauigan.com


E M I LY SPE E D (UK) The complex relationship between human beings and the built environment is frequently referenced in her work. She explores the transient nature of architecture and how it can act both as a metaphor for our internal selves and as a site embedded with our memories and personal history. Emily’s practice includes performance, installation, drawing and sculpture. Her work often employs simple, throw-away materials such as cardboard and tape, which are inherently temporary and fragile. Emily will have her first solo exhibition, ‘MAKE SHIFT’ at Yorkshire Sculpture Park from 16 July to 18 September 2011. www.emilyspeed.co.uk

A big thank you to Bee Hughes contact@moshaughnessy.co.uk


H I LARY J U DD (UK) “I draw to record events, people and objects, but also as a tool to help me remember things. Learning how to dance with a partner, remembering the placement of each foot whilst counting in my head engages a different part of my brain. I come home after dance lessons and make visual notes. These are scruffy and sometimes indecipherable.”

AI LI E R UTH E R FOR D (UK) “The ESP sponge is part of an ongoing project inviting senders and receivers to take part in telepathic drawing tests. Test results can be viewed at www.ganzfelddrawing.tumblr.com”

LAU R E NCE PAYOT (UK) Laurence Payot’s work short-circuits our everyday, using visual tricks – and more recently performances – to challenge perceptions and question the way we behave. It is presented out of the gallery walls, merging itself within the public realm like a chameleon. By blurring the line between the work (‘staged’), and ‘real life’ (‘unstaged’), she creates situations where the viewer has to respond to the work without being aware that is has been placed there by the artist. As Laurence Payot describes: “I don’t want my work to be spectacular, I want to break the barrier of the work versus the viewer, for them to become one. The work exists in a more organic form, it is the reactions and situations it provokes, rather than the object or performance in itself.” Coincidence System Drawing 2 shows Laurence’s thinking process for her current project called Coincidence. Information is being sent to selected people who then perform an action. Their action has an effect on people nearby, creating a chain reaction throughout a community of people. www.laurencepayot.com www.coincidenceproject.co.uk

ROAN NA WE LLS (UK) “Drowning Victim is the start of a new series of work entitled Interpersonal Spatial Arrangements, which explores the random and ordered nature of people in public situations, but presented away from their context. My work also explores the relationship between drawing and stitch through various processes of mark making. I am inspired by their ability to make permanent a thought or observation and to create pattern, texture, movement and stillness. Graduating from Manchester School of Art in 2009 with a BA Hons degree in Embroidery, I am currently based in Sheffield with a studio at S1 Artspace. I have recently been taken on with representation by MoonKo.co.uk” I will be demonstrating and exhibiting at Art in Action, Oxfordshire from 21to 24 July 2011.” www.roannawells.co.uk

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