Drawing Paper 7

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INTRODUCTION There’s been a gap since we last published Drawing Paper and some have been talking about it in the past tense. So we are pleased to bring you issue 7 just in time for Liverpool Biennial 2014. Over the last couple of years Drawing Paper, as a sort of mini collective, has been getting into some more performative work and with the help of Liverpool audio-visual group Deep Hedonia there have been drawing events and live drawing performances with new (and some less new) producers and composers of music. In fact, as we published Drawing Paper 6 two years ago we were commissioned by Liverpool Biennial to stage a second Drawing Sessions – a 12 hour long durational and participatory drawing event with hourly musical performances as stimulus to the image making. This is a


Drawing Paper is a freely distributed, not-for-profit publication funded and made possible solely by its contributors. Our featured artists pay an equal amount for their page which in total covers the production costs and allows for some UK distribution. 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.


The model described above has served us well but we feel it limits our potential. We only generate enough funds to print limited quantities and distribute to a small number of UK locations. We really want to print in greater volume, distribute more widely, pay artists and writers and ourselves. There is potential to make Drawing Paper much better but we can only achieve this by adopting a slightly more commercial stance. We are interested in funded curatorial collaborations – similar to the successful Tate funded issue 6 – which coincided with their drawing exhibition ‘Tracing the Century: Drawing as a Catalyst for Change’ curated by Gavin Delahunty. It was a fruitful relationship for both parties as it served as a promotional tool for the exhibition whilst adding curatorial weight to the publication. Our new iPad app offers the potential, in the long-term, to generate funds through downloads and advertising. So if you are a drawing centred gallery or establishment, if you are a university with a good drawing programme, a book shop, art shop or materials supplier or manufacturer, Drawing Paper might be a good place to promote your activities and services If you value what we have achieved so far and would like to support us moving forward please get in touch.


Thanks to all our contributors for your support, encouragement and enthusiasm. Without you Drawing Paper would not be possible. Published July 2014 by Mike Carney and Jon Barraclough, Liverpool UK. All artworks copyright © The Artists or their representatives.

growing area of interest for us as we explore the relationship between sound and drawn image. And also the narrative that music and sound can produce in parallel to making drawings. The idea of narrative is present in the drawings here – in different ways. The narrative of the marks made by a computer mouse by Darren Marsh, the multi-layered narrative in Ed Pien’s work, and the effect of sunlight drawing by the erasure of a coloured ground in Barbara Jones’ pieces. There are stories behind how and why the drawings have been created and stories that emerge for the viewer once the work is completed. It’s good to return to the printed page and we hope you enjoy issue 7 as much as we have in putting it together. Jon and Mike.


We are pleased to announce that all our back issues (Drawing Papers 1–6) featuring over 120 artists, will soon be available to a worldwide audience through our new iPad app. Follow us on Twitter and Facebook for news about its release.

Back cover photo: Jon Barraclough Printed in a limited edition of 4000 by Sharman and Company, Peterborough. Special thanks to: Nick Kennedy, Laura Cresser, Will Strong at New Bridge Project; Kate Smith; Madeline Hall; Dave Evans; Fran Disley; Sam Venables; The Royal Standard; Laura and Mike at The Double Negative; Bryan Biggs at the Bluecoat; Ruth Adams at DaDaFest; Sarah Williams and Lauren Houlton at Jerwood; Yamuna at Drawing Room; Claire Leach at The Fruit Market Gallery book shop; Alix Collingwood at MIMA; Jon, Thom and Sam at Deep Hedonia; Matthew Chesney at Backlit. David and Hanneke at The Drawing Suite;


We are looking for distribution outlets around the UK. If you run a gallery, studio group or book store and would like some copies please get in touch.


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drawingpaperemail @ gmail.com drawing-paper.tumblr.com drawing-paper.co.uk

Issues 1—6

JACK WELSH 155 – 23/25 (2014) Digitally manipulated drawing using advert, tip-ex, ink, glue 21.3 x 29.7 cm

DAVID BEGLEY The Feeder (2014) Burnt cork, driftwood, vine, willow charcoal and pigment on Arches paper 152 x 114 cm

BEATE MARIA WĂ–RZ Untitled (blue) (2013) Pencil on paper 77 x 77 cm

RIA FELL Untitled (2014) Pencil on Paper 19 x 21 cm

MARION SAGON Between the Space 1 (2013) Digital drawing and picture Digital Giclee Print 75 x 100 cm

THEO VASS Greenland St. (2013) Pen on Paper 84 x 59 cm

MIKE PARR Top: SPP3189 Bottom: SPP3190 Both 2014, mixed media on paperboard 15 x 26 cm each, unboundaried accumulations of drawings on 52 x 76 cm sheets of paperboard

DANIELLA TURBIN Study #4 (Hypnagogia) (2014) Etching ink on chinograph paper 50 x 35 cm

PETER THUM #1 (2014) Ink on paper 18.8 x 25.7 cm

SIMON WOOLHAM Nan (2013) Biro on Paper. 42 x 29.7 cm from Remember Your Garden Series

BARBARA JONES Purple Light 2 (2014) Sun on sugar paper 30 x 21 cm Pink Light (2014) Sun on sugar paper 30 x 21 cm

RIDGE & SCRASE Shiver (2014) Pen, charcoal, wool and magnetic audio tape on card 42 x 29.7 cm

HONDARTZA FRAGA It Turned Me to Admire the Magnanimity of the Sea which Will Permit No Records (2013) Pencil on paper. 100 x 70 cm

DARREN MARSH Mouse Drawing #30 (2012) Pen on paper 42 x 29.7 cm

JASON THOMPSON TO STARLING FROM WEST FROM SILVER PEARL (2014) Pencil, ink, correction fluid, glue, paper 43 x 45 cm

SOPHIE JODOIN It will all be strange at first (2013) from ongoing series Black gesso, charcoal and pastel on paper 38 x 48 cm

ED PIEN Joan of Arc detail (2014) Installation view, Justina M. Barnike Gallery, Toronto 2012 Ink and Flashe on sectioned paper 167.5 x 216 cm Courtesy of Pierre-Franรงois Ouellette Art Contemporain, Montreal

ARTHUR ROBERTS Summer 2014 (drawing) (2014) Graphite on wood panel 60 x 37 cm

HANNEKE VAN RYSWYK Glacial Melt I (2013) Soot on paper 50 x 36 cm

NEIL MORRIS Men thinking about Black Pools of Despair 3 (2013) Screen print 76 x 56 cm

GIULIA RICCI Untitled (2009) Pen on paper, hand made drawing 33 x 34 cm Photo: Vijay Sebastian

ANNABEL TILLEY Encyclopaedia of Old Masters Part One (2012/13) Ink on paper. 56 x 38 cm

IOANNA GOUMA Hovering Over (2011) Monotype, Ink drawing and collage on Japanese paper 145 x 90 cm

THE ARTISTS DAVID BEGLEY Irish artist David Begley, born Dublin 1972. Recent solo exhibitions include ‘Drawings and Paintings’, Presentation Centre, Wexford (2013) and ‘Amke Tiem’, Olivier Cornet Gallery, Dublin, 2012. Recent group exhibitions include The 184th Annual Exhibition, RHA, Dublin (2014) Irish Wave 2013 (Beijing, Shanghai 2013), Eigse Arts Festival, Visual Carlow, (2014, 2013, 2012) and VUE National Contemporary Art Fair, RHA Dublin (2012). He is currently working on a series of drawings and animations whilst on a three month studio residency at The RHA, Dublin. His work can be found in the collections of The Contemporary Irish Art Society, The EPA, OPW and INTO. David is a featured artist at The Drawing Suite. www.davidbegley.com www.thedrawingsuite.com

RIA FELL Ria Fell uses the exploration and exaggeration of pattern and shape in natural forms to imply alternative expression of the ‘vanitas’ language. Moving away from tropes of the genre, such as skulls and fruit, these transformed fragments and twisted portraits aim to bring into question concepts of selfperception and beauty, while hinting at a contemporary aesthetic. www.riafell.co.uk

IOANNA GOUMA Ioanna Gouma’s work is influenced by geology and biology. A starting point is often the observation of the natural environment – rhythms and routes that she discovers in the landscape. She finds interest in imperfection and profundity in nature’s impermanence. The images begin with mono-printed stains and drippings worked over extensively with drawing and collage, transforming them into abstract organic hybrid forms. There is an amalgam of oppositions: the internal in fusion with the external, the underground with the celestial, past with future and archeology with science. Ioanna Gouma is an MA graduate at Royal College of Art. www.ioannagouma.com

SOPHIE JODOIN Sophie Jodoin’s series of drawings often serve as the starting point for installations involving collage, painting, found objects, and video. Her work has been shown in North America and Europe in artist-run spaces, galleries, museums and fairs; and creative collaborations have included novels, dramatic works and poetry. In 2014 she was the recipient of a six-month artist residency in London granted by the Quebec Council of Arts and Letters. It will all be strange at first stems from an ongoing body of work addressing the ambiguity of human relations, domesticity, discomfort and belonging. www.sophiejodoin.com

HONDARTZA FRAGA I work mainly with drawing, photography, animation and video as my mediums to explore the different ‘distances’ between ourselves and everything else: spatial, temporal, emotional, cultural and imagined. In my work are featured model ships, maps, earth globes and other objects that evoke an idea of remoteness. The sea is a constant reference for it represents everything that is remote to us. The works included here resulted from a Leverhulme Trust residency at the Maritime department of the University of Hull, where I found myself surrounded by old books about the sea and whaling. Seduced by the elaborate covers I took pencil rubbings and considered the book as a seascape in its own right. The works seek to allow the sea from the pages to filter out to the outer skin of the book. I continue my exploration of human relationships with the sea in my current project, Curio•sea•ty, in collaboration with artist Lorna Barrowclough. www.hondartzafraga.com

DARREN MARSH Informed by a wide range of sources including technology and science, Darren Marsh uses drawing as a search process – a performative and processual act that can be used to express our experiences of what it is to be in this world. He produces mark making systems to serve as forms of meaning making, a strategy for exploring the potential of his ideas. His work questions our relations to technology, whilst acknowledging the potency of the hand-made. There is no hierarchy of materials or procedures, the works fold processes in upon themselves and cross genres. www.darrenmarsh.co.uk

NEIL MORRIS Neil Morris was born in Liverpool in 1958. For nearly 40 years he has been engaged with a passion for printmaking and throughout this time he has collaborated extensively in places as far flung as Lima, Shanghai, Athens, Orebro, Cologne and Salford! He sees collaboration as being central to his artistic practice and his work deals with considerations of nostalgia and memory. He describes his work as featuring a ‘cast of characters, using images derived as much from the processes themselves as any other means’. He explains that the timescale involved allows for images to be created gradually and meditatively, developing a personal mythology and creating roles for his featured ‘actors’. He currently spends his time between Liverpool, Chester and a small island in Greece. N.Morris@livjm.ac.uk

BARBARA JONES My practice is primarily concerned with microscope imagery, particularly cells of disease. My aim is to deliberately exaggerate the beautiful and decorative aspects of these images in order to entice the viewer into a close examination of subject matter which is conventionally seen as repulsive and taboo. Electron microscope cell imagery is mysterious but possesses universal appeal, speaking of the basic elements of all life. My latest work has been produced by harnessing the power of sunlight in order to create drawings; literally drawing with light. www.barbaravjones.com

MIKE PARR Mike Parr (born 1945) is a self-taught artist working in performance, drawing and printmaking. In 1970–72 he cofounded Inhibodress in Sydney, Australia’s first artist-run space. Since then he has produced several hundred performances in Australia and internationally. In 2012, Kunsthalle Wien presented a retrospective of his work with an emphasis on performance documentation. He began printmaking in 1987, experimenting with a range of techniques and developing some of his own. An obsessive drawer, he says of this practice, ‘I draw for days at a time until something is revealed or something is destroyed. It’s a dialectic of becoming. In recent years the drawing has become more eruptive and more cumulative.’ Mike Parr’s work will be included in the exhibition Art of the Lived Experiment at the Bluecoat, Liverpool as part of DaDaFest International 2014, 8 November 2014 – 11 January 2015.

ED PIEN Through my art, I research the convergence of history, beliefs and mythology from diverse cultures in an attempt to make engaging and critical art. I aim to make conceptually and physically provocative art that opens up a space for dialogue. In each drawing, densely filled images of strange and hybridized figures defy quick or simple reading. Ultimately my drawings celebrate diverse ways of being in the world by foregrounding wonder, enchantment, and the use of the imagination. Pien has shown work at the Drawing Centre (NYC), The Goethe Institute (Berlin), the Bluecoat, the Art Gallery of Ontario (Toronto), the Musée des beaux arts and Musée d’Art Contemporain (Montreal), Songzhuang Art Centre (Beijing) and the National Art Gallery of Canada (Ottawa). Recent major exhibitions include the 18th Edition of the Sydney Biennale, the 5th Edition of the Moscow Biennale, and Oh Canada at MASS MoCA. Based in Toronto, Pien is represented by Birch Contemporary in Toronto; PierreFrançois Ouellette Art Contemporain in Montreal and Galerie Maurits van de Laar in The Hague. www.edpien.com

GIULIA RICCI I was born in Italy and have lived and worked in London since 2004, where I completed an MFA in sculpture at the Slade School of Fine Art in 2007. I work primarily with drawing. Although most of my work is hand-drawn on paper, my practice includes explorations into other media, such as printmaking and laser engraving, as well as into other formats, including installation and wall (or floor) drawings. I am interested in the often unassuming but all-pervading presence of patterns and systems in the places we inhabit and in the objects that surround us. I create multiple focal points through the repetition and distortion of triangles within the grid structure and through the ambiguity between figure and ground. I use this strategy to elicit a tactile and spatial response from the viewer. The perception of my work also changes significantly depending on the viewer’s proximity to the surface. www.giuliaricci.eu

RIDGE & SCRASE Exploring the notion of fear through self-portraiture; questioning how the physical act of panic affects our bodies, and particularly how this affects our control over the drawing process. A rudimentary shivering instrument was utilised resulting in very skittish and barely controlled mark-making; further investigated using embroidery to explore this loss and violent relinquishment of control. With inclusion of magnetic audio tape containing various recordings of the piece being created. Established in 2013, Ridge & Scrase is a multimedia drawing and sonic art collaboration between artists Elizabeth Scrase and Michael Ridge. Our aim is to develop new works that approach the act of mark-making and drawing through sound, sensory deprivation, performance and interaction. For more information on how this piece was created and details on our collaboration please visit our blog.

PETER THUM Peter Thum has been creating artworks since 1985. He currently uses pen and ink. These latest works deal with issues of continuity and discontinuity, fickleness, and shallow motivations. He has recently engaged with the internet and social media, and uses these as inspiration for the concepts (but not the content) discussed within the work. Peter generally avoids the complicated social relationships engendered by contemporary mass communications, preferring instead to focus on an intensely personal dialogue with himself. This reflective practice is then refracted via the prism of the internet. www.peterthumkunst.tumblr.com peterthum08@gmail.com


ARTHUR ROBERTS ‘56 equilateral triangles in rhythm and pattern, alternating and switching, forming hexagons, squares and polygons in space.’ looopart.com

MARION SAGON Between the Space comes as a result of the experimentation of countless possibilities of composition offered by a considered space. Working and testing for hours to find a perfect balance, a floating effect of a volume composition, I am following the ideas that emerge or cross over my evolution and then immortalize the result. Subsequently, the picture will be transformed by a digital procedure. www.marionsagon.com

JASON THOMPSON Granquilana qui resocrath, Blei Suon oclas mi cry, Plan sath onam mion icee, O fras, mo kalonath From a poem to the Sun by “Silver Pearl” In 1897 Mr West told Mr Starling that Silver Pearl was a woman who lived on Mars and told him about life and culture on that planet and many others in the universe. Jason Thompson is a painter born in Liverpool in 1970. He lives and works in Liverpool. www.iamjasonthompson.com

ANNABEL TILLEY Annabel Tilley (born London, 1963) makes drawings inspired by the history of English painting. Shortlisted for The Jerwood Drawing Prize, she has exhibited widely including at fruehsorge contemporary drawing in Berlin, Transition Gallery, WW Gallery, C4RD, Oriel Davis and Towner. Annabel Tilley trained in Fine Art Painting at The University of Brighton, has an MA in literature, lives in Hastings and works from a studio in South London. She has written for a-n Magazine, Garageland and Arty Magazine. In 2012 Annabel Tilley founded the London-based arts organisation Zeitgeist Arts Projects with Rosalind Davis. Annabel Tilley investigates ideas of Englishness through work inspired by English art history, architecture, literature and museum collections. The intricate drawings featured in Tilley’s two-part drawing Encyclopaedia of Old Masters (2012/13) are visual quotes taken from 18th Century Old Master paintings by English artists like Hogarth, Stubbs, Gainsborough & Blake. In creating these taxonomies Tilley works directly from the black and white photographs found in old secondhand art history texts for instance: the 1963 Catalogue: The Paul Mellon Collection of Painting in England 1700–1850 – showcasing a renowned American collection of English art. The Encyclopaedia of Old Masters features nearly 200 miniature drawings that together create new surreal versions of the Old Masters. The random and often abrupt nature of the objects drawn and quoted and their relationships to each other are both deadpan and humorous, forming a new playful look at the history of English painting. www.annabeltilley.com

DANIELLA TURBIN Daniella Turbin is a cross disciplinary artist whose practice based research is underpinned by the drawing process. The artist is site responsive and conducts a phenomenological based exploration into spaces of the in-between; this includes the overlap between inside and outside of architecture, the physical and abstract space of the mind, and mind-body problem. She spends a dedicated period of time exploring and responding to environments through a series of multidimensional works, these explore the threshold of abstract and physical space. The artists works include joining spaces; such as staircases, passages, and roads which she combines to create impossible and paradoxical structures which create metaphors for the human psyche. Turbin draws on debates surrounding the paradox of the medium within contemporary Art and invites the viewer to witness the deconstruction of the mark. Her multi-dimensional drawings combine strategic geometric lines against the instinctual gestures; with each mark carefully subtracted from the imagery through a labour intensive method of erasure. This combination of the ‘certain’ and ‘indeterminable’ explores the transition between representation and abstraction. Turbin also investigates the geometry of light within her works with light forming the intermediate of inside and outside she explores the medium of light as the passage between the psychological space of the mind and physical space of her drawings. www.daniellaturbin.wordpress.com wix.com/dt2511/daniellaturbin

THEO VASS I’m interested in making work which questions the space found through the depiction of architectural encounters. The depth of field and scale becomes insignificant exposing only the form by a process of elimination through repetition. The lines sway, alter in thickness and intent creating movement across the paper. The action of making each mark is not without a direct consequence to its parallel, giving the drawing room to adapt, as well as treating the line as an apparatus for communication. Theo Vass is currently a precipitant of the Liverpool John Moores studio bursary scheme at The Royal Standard. His works encompass drawing, film and site specific installations. www.theovass.com

JACK WELSH Over the last several months I have been producing an ongoing series of drawings using adverts cut out in sequential order from established contemporary art magazines.

BEATE MARIA WÖRZ Beate Maria Wörz is a conceptual artist based in Berlin. Coming from sculpture, her drawings are influenced by the consciousness and perception of space and environment.

Following a set of rules, each advert – which alongside promoting numerous galleries, art fairs and Bienniales globally, finances the publications – is removed from a chosen issue and manipulated by either adding or removing material through a variety of means. As the magazine is stripped of all advertisements, the resulting drawings are often digitally manipulated.

‘... drawings, in contrast to sculpture, can create spaces without determining the surroundings through materiality or expansiveness.’ (the artist in a discussion about drawing in 2012)

Jack Welsh is an artist, researcher, writer and lecturer based in Liverpool. He is a member of The Royal Standard. www.jackwelsh.co.uk

SIMON WOOLHAM Simon Woolham’s work is concerned primarily with occupied spaces and the narratives that unfold in them. His drawings of school playing fields, junked underpasses and the like often contain text with the tone of dialogue. Through these glimpses of speech the dilapidated environments come to life in a skint version of enchantment: a tree stump or a broken fence are filled with the meanings of the events that go on around and about them. In his attempts to unearth this unpredictable and fragile process of memory, he uses biro drawings, paper interventions, animation, video and text. Simon Woolham is currently based in Macclesfield. He has exhibited widely, including solo exhibitions at the Lowry in Salford and Chapter Gallery in Cardiff, as well as numerous national and international group exhibitions. In 2008 he was included in the first Tatton Park Biennial and in 2006 he was Artist-inResidence at the Baltic in Gateshead. He won the Mostyn Open 11 at Oriel Mostyn in 2001 and is currently a PhD researcher at Miriad (MMU) where he is developing an artistic residency around the place where he grew up, Wythenshawe in South Manchester, around the 1980’s, drawing out memory and exploring the relationship between walking and memory.

Do you remember your garden? Is one ongoing, online project, which invites participants to describe a garden or intimate place where they hung out as a child. These streams of consciousness, intimate memory descriptions are performed through biro drawing. www.darkcorner.co.uk

In her drawn works, whose production often has a meditative character, Wörz is frequently concerned with actually occurring rhythms and structures, which she condenses and superimposes to create new spaces on the paper. Here she is also concerned with various aspects of ‘time’ and how it can be portrayed, as for example in the series Blätterfall (Falling Leaves). Her works are often site-specific, and deal with socially relevant themes. As Myrah Adams wrote in her introductory speech to Approach in 2007: ‘Place and space are never abstract for Beate Maria Wörz, and they are not only geography and topography. Place always has a socio-historical dimension for her; it is mentally grounded and related to people, or is related by her to people and social realities.’ www.beatemariawoerz.de

HANNEKE VAN RYSWYK Born 1983, Wales. Hanneke grew up in the Netherlands and returned to Wales in 1998. She graduated from the University of Wales Trinity Saint David, Swansea in 2006 and has held four Irish solo exhibitions since moving to Ireland in 2011. In 2014 she was awarded a Visual Arts Bursary by Artlinks. Hanneke was also awarded residencies at Kultivera, Tranås, Sweden and Cill Rialaig artist’s retreat, County Kerry, Ireland in 2013 and 2012. Her work can be found in the Office of Public Works collection (Ireland) and she is a featured artist on The Drawing Suite. Her ongoing body of work focuses on glacial melting and the impact it is having across the globe. I work with heat and soot, the by-product of the combustion process. I am inspired by recent studies which have revealed that carbon from industrial pollution may be a contributor to the increased snowmelt of glaciers. www.hannekevanryswyk.com www.thedrawingsuite.com

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