swiss art space | place suisse des arts | schweizer kunstraum Contemporary Art Review
International Exhibition of Contemporary Drawing
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swiss art space place suisse des arts schweizer kunstraum Contemporary Art Review
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swiss art space | place suisse des arts | schweizer kunstraum
2 | Drawing ‘12
International Exhibition of Contemporary Drawing
This autumn, in Switzerland… Swiss Art Space hosts Drawing 2012, international exhibition of contemporary art of drawings in November 2012 in Lausanne, Switzerland. The aim of the Exhibition is to present contemporary art of drawing from artists all around the world in their different forms and variations to Swiss public. Drawing is first the most direct, intimate, contact between the artist and his art in material media. Through drawing we can see all of the artists sensibility, energy and search for expression in a quick and not hidden view of his mind and soul. Unfortunately a great number of contemporary artists drawings is not seen by a great number of public. With the concept of Drawing 2012, we would like to make a difference! The month of November is in the middle of the autumn art season, known for lot of public interest in art after lazy summer holidays, and that was a reason for choosing November. Bringing a major art exhibition of contemporary drawing art is a great present to art life of Switzerland and at the same time a big challenge for Swiss Art Space. Yours sincerely
Laurence Bettens-Girod
Swiss Art Space-Drawing 2012
© SAS 2012 / Image P. Dupont, Digital transformation D.S. Stefanovich
Drawing ‘12 | 3
Lausanne, Switzerland
International Exhibition of Contemporary Drawing November 1 - 30, 2012 Exhibition 1 | November 1 - 7 Exhibition 2 | November 8 - 20 Exhibition 3 | November 22 - 30
swiss art space | place suisse des arts | schweizer kunstraum
International Exhibition of Contemporary Drawing Argentina Australia Belgium Brazil Bulgaria Canada Colombia Denmark Egypt France Germany Greece Italy Japan Mexico Montenegro Netherlands Russia Serbia Spain Sweden Switzerland Turkey United Kingdom United States of America 6 | Drawing ‘12
Artists Countries
Achille
Belgium
8
Marmet Véronique
Switzerland
37
Agni
Switzerland
9
Meek Carl
United Kingdom
38
Arnedo Mercedes
Argentina
10
Mermoud Sylvie
Switzerland
39
Bastien Alexandra
Canada
11
Middelmann Naomi
Switzerland
40
Berger Jean-Luc
Switzerland
12
Newman-White David Australia
41
Bjelica Jelena
Serbia
13
Opstelten Karen
Netherlands
42
Böttger Frank
Switzerland
14
Pajak Jacques
France
43
Breidenthal Derrick
United States of America
15
Paldam Jens
Denmark
44
Claux Tatiana
Russia/France
16
Pantillon Anne
Switzerland
45
Csaki Istvan
Turkey
17
Pedrosa Valentin
Spain
46
Davies Robert Miles
United Kingdom
18
Pina Yara
Brazil
47
Demière Christine
Switzerland
19
Plein Nadja Gabriela
Germany
48
Doyle Avalyn
Australia
20
Popova Milena
Bulgaria
49
Fabrizzi Karenina
Italy
21
Rage Peter
Switzerland
50
Flint Sato Christine
United Kingdom/Japan
22
Rodriguez Oscar
Colombia
51
Gutierrez Nelson
United States of America
23
Roos Pris
Netherlands
52
Hardiment Tilney
United Kingdom
24
Salaški Milica
Serbia
53
Hathout Miriam
Egypt
25
Senoj Mit
United Kingdom
54
Howe Stacy
United States of America
26
Stanojević Jovanka
Serbia
55
Jungo-Mondoux Catherine Switzerland
27
Tank Douglas Christian
Switzerland
56
Kavvatha Antigoni
Greece
28
Ten Wolde Nel
Australia
57
Kojić Tijana
Serbia
29
Tingård Emma
Sweden
58
Kok Nico
Netherlands
30
Tretyakova Tatyana
Russia
59
Kolff Inger
Netherlands
31
Tucović Jovana
Serbia
60
Kosić Nikola
Montenegro
32
Tucović Milan
Serbia
61
Kruimer Gerda
Netherlands
33
Turney Wieland Barbara Australia
62
Lear Jill
United States of America
34
Voigt Wolf-Gunter
Germany
63
Lloyd Nick
United Kingdom
35
Walker Ernesto
Mexico
64
Marjanović Saša
Serbia
36
Wolfskämpf Andrea Dora Germany
65
Drawing ‘12 | 7
Achille
Belgium
1
2
3
Do you give a title to your artwork ? Yes, mostly for organisatory reasons. Do you have a visual image of your work before its creation ? At the start with a vague idée, then a response with the progress of the work. When do you know a work is completed ? When there is no more to add. How long can you work on your drawing ? Depending on the technique I am using, for oil on canvas for example sometimes two weeks till two months. Do you listen to music ? Where and how long ? Yes, in my studio, when I am working; keeps the noise outside and helps me concentrate. Are you alone when you are working ? Yes, otherwise I would be distracted. 8 | Drawing ‘12
What helps and what bothers you when you work ? Classical music helps, modern commercial beat bothers. How do you feel when people look at your work ? When the viewer stays a wile longer before a picture, I think there is a visual communication. What would you change in today’s art world, if you could ? That the artist’s knowledge and technique is approved. When did you start to think of you as a future artist ? As a painter, approximately at the age of twelve.
1 |
Les Baux 2 / detail
2 |
Toscane 1 / detail
3 |
Les Baux 3 / detail
Bamboo pen and ink | 50 x 36 cm | 1999 Graphite | 50 x 36 cm | 2002
Bamboo pen and ink | 50 x 36 cm | 1999
Switzerland
Agni
1
3
2
1 |
Léger, Ephémère, Danse
2 |
Léger, Ephémère, Danse
3 |
Léger, Ephémère, Danse / detail
Crayons de couleur | 73 x 51 cm | 2007 Crayons de couleur | 58 x 44 cm | 2007 Crayons de couleur | 73 x 51 cm | 2007
Visualisez-vous votre oeuvre avant sa création ? Non, il s’agit d’un travail d’esquisse réitérée en quête d’orientation. Un crayon, une page. Dès l’instant de la trace et durant une fraction de seconde surgissent des espaces/figures. Ils me permettent d’imaginer ou voir plusieurs points de vue. Je reprends mon souffle et chevauche la première trace, ainsi de suite. Pendant des instants très courts je passe dans plusieurs ”espaces/figures“, qui se télescopent et se redéploient par séquences (…esquisse réitérée… ). Durant ces élans, se révèle une forme/espace plus explicite: me voici donc orienté (… en quête d’orientation). Il faut savoir s’arrêter, un tracé de trop et tout l’espace et la figure qui l’habite s’écroulent. But: me tenir au plus près de l’acte créateur et vous faire plaisir. Drawing ‘12 | 9
Arnedo Mercedes
Argentina
3
2
1
1 |
Mandala 1
2 |
Mandala 2
3 |
Mandala 3
Intervention au stylo à bille sur copie d’original (graphite sur papier) | 21 x 29.5 cm | 2011 Intervention au stylo à bille sur copie d’original (graphite sur papier) | 21 x 29.5 cm | 2011 Intervention au stylo à bille sur copie d’original (graphite sur papier) | 21 x 29.5 cm | 2012
10 | Drawing ‘12
Combien de temps pouvez-vous travailler sur votre oeuvre ? Il m’arrive de travailler un dessin pendant des mois. J’ai fréquemment recours à une loupe, et à toutes sortes de mines, pour mener à bien ce travail minutieux; à défaut, les détails sont inaccessibles. Toutefois, je ne travaille pas en continu sur un dessin: j’y reviens à intervalles irréguliers, le reprends et le retouche, tout en exerçant une activité picturale en parallèle. Même lorsque mon travail est avant tout centré sur la peinture, j’ai très souvent besoin de retourner au dessin, sans doute la nécessité de me retrouver dans un cocon, un monde clos, intime.
Rêvez-vous de vos oeuvres ? Je rêve en effet souvent de mes personnages ou de la réalisation même d’un dessin. Il m’accompagne partout, autant en voyage ou sur la terrasse d’un café durant la journée que dans mes rêves, la nuit. C’est particulièrement le cas pour ces séries puisque depuis de nombreuses années, je cherche et collectionne des images anciennes, en rapport, de près ou de loin, avec ma propre histoire et celle des mes origines. Avez-vous pensé qu’un jour ce genre d’art pourrait se terminer ? Selon moi, le dessin ne sera jamais fini. Que le dessin ait été mis de côté ou sous-estimé ces dernières décennies, possible, mais je n’arrive pas envisager sa fin: il est intrinsèquement lié à l’homme, à son activité artistique. A mon avis, c’est à la fois le commencement et la base de toute réalisation picturale. La magie exercée par le simple fait de tracer une ligne sur une surface est inévitable, ! donc infinie. Et bien heureusement!
Canada
Bastien Alexandra
1
3
2
1 |
A bit of life
2 |
Beware, here I come
3 |
Bitten by the inevitable / detail
Colored pencil on illustration board | 28 x 20 cm | 2010 Colored pencil on illustration board | 38 x 45 cm | 2010 Colored pencil on illustration board | 28 x 45 cm | 2010
When did you start to think of you as a future artist ? I create since I was the age of 5 years old. Since the moment my mother gave me my first box of coloured pencils. I’ve always drawn. I took refuge in my room to do my drawings. When I was a teenager, I started taking art classes and took it much more seriously. I did not really know what it was to be an artist, but I knew that I would devote my entire life to creation. Later, I had to think about how to make a living with my work. I always wanted to draw or paint every day of my life. It fascinates me completely and I think about this all the time. I had no other choice!
Are you alone when you are working ? Yes. For my part, I prefer to be alone in my studio from beginning to end. I do not like to be disturbed by anyone or anything at all. I have a great need to be focused on my work to work well. I am inspired with music and I work hours to finalize all the details of my drawings. I need solitude and peace to create works that I have in mind. Do you dream of your works ? Yes, very often. I also have ideas that can come to me suddenly in the day, no matter what I do. At night, my dreams are very creative and often give me great ideas for my work. I have a lot of creativity at night and early morning.
Drawing ‘12 | 11
Berger Jean-Luc
Switzerland
1
2
3
Comment choisissez-vous les couleurs ? Visualisez-vous votre oeuvre avant sa création ? Quand votre œuvre est-elle terminée ? Le dessin est pour moi quelque chose qui se construit au fur et à mesure de son évolution sur le papier. Je visualise rarement totalement le sujet dès le départ. Parfois j’ai une idée en tête et une autre fois, c’est quelque chose ou quelqu’un qui accroche mon regard qui me donne le point de départ. Ce qui rend la création dessinée intéressante c’est précisément de ne pas savoir tout ce que je vais y mettre dès le départ. Le dessin est terminé lorsque je me rends compte que ce que j’ajoute est superflu et que le dessin ne “m’appelle plus”. Cela peut prendre quelques heures jusqu’à quelques jours, le temps m’importe peu. 12 | Drawing ‘12
1 |
Naissance de Gruyères
2 |
Belle plante en fleurs
3 |
Le pont du bras tendu
Crayon | 28 x 28 cm | 2011 Crayon | 28 x 38 cm | 2012 Crayon | 34 x 25 cm | 2009
Serbia
Bjelica Jelena
1
3
2
1 |
Santorini IV
2 |
Santorini III
3 |
Santorini I
Ugljen, tuš, kreda | 31 x 23 cm | 2010 Ugljen, tuš, kreda | 25 x 18 cm | 2010 Ugljen, tuš, kreda | 50 x 35 cm | 2010
Vizualizujete li vaš rad pre njegovog stvaranja ? Vidim sebe kao svako drugo ljudsko biće koje ima potencijale da kaže, objasni, kreira svoju težnju, a svoj rad kao jedan čist, prazan prostor, gde postoji mogućnost da ta težnja postane umetnost. Koliko dugo radite svoj crtež ? Dešava se da uradim rad za veoma kratko vreme, da ne zahteva nikakve naknadne dorade, a ponekad se dešava da uopšte ne mogu da završim rad, tada ga pustim da “sačeka” svoje vreme, što može da bude i više od par godina ili možda nikad… ?
Drawing ‘12 | 13
Böttger Frank
Switzerland
1
2
3
Comment donnez-vous un titre à votre oeuvre ? Le titre de mes oeuvres est déterminé a posteriori en fonction de l’impression qu’elles m’inspirent. Chacun est cependant libre d’y amener sa propre interprétation. Visualisez-vous votre oeuvre avant sa création ? Une fois le format déterminé je construis les bases d’une composition qui évolue ensuite librement et peut finalement être plus ou moins proche de mon idée première. Quand avez-vous commencé à penser à vous comme un futur artiste ? En toute humilité, je me considère davantage comme un artisan que comme un artiste. Mes dessins sont plutôt à considérer comme des “Fantaisies” au sens qu’on leur donnait au XVIIIème siècle. 14 | Drawing ‘12
1 |
La leçon d’anatomie / detail Crayon et collage | 28 x 20. 5 cm | 2008
2 | L’explorateur / detail Crayon | 25 x 20 cm | 2008 3 |
La prison vide
Crayon | 12 x 12 cm | 2012
United States of America
Breidenthal Derrick
1
3
2
Why do your drawings have no titles ? Most of the time I do not title my drawings because many are studies. Some simply exist in my studio as a reference so I do not feel the need to title them. I also create drawings of the same subject over and over with different materials, sizes colours and so on. So a lot of the drawings are considered preliminary to me. An extension of a sketch. I use a numbering system in many cases simply to help categorize the work. When do you know a work is completed ? My drawings tend to have a defined goal before I begin. Such as subject and composition style. So once I achieve the detail and colouring I like, the drawing is complete. Or if I am doing a drawing to experiment with a specific paint or ink sometimes it may not look completed to another person, but it is to me because I have completed the experiment. My oil paintings are different. These tend to be an expression of emotion and atmosphere through oil paint so they are more difficult to
judge as finished. In all my art I try to exceed what my original expectation was for the work, so if a work of art is doing this it is a good indication it is finished. Or in some cases beyond saving, so it is better to begin again, and finish unsuccessfully. How do you feel when people look at your work ? I enjoy showing my work. Most of the intent is to spark personal memories. Not simply my memories but the viewers. So I put enough of my personal ideas in my work as a starting point. But not so much that it is strictly my identity. I believe using art as a stepping stone to a discussion of each others experience is much more rewarding for everyone. If in showing my work these discussions come up I feel like my art is working outside of me (on some level) in a positive way.
1 |
Untitled 1 / detail
2 |
Untitled 2 / detail
3 |
Untitled 3 / detail
Graphite, ink, watercolor | 33 x 51 cm | 2012 Graphite, ink, watercolor | 40 x 51 cm | 2012 Graphite, ink, watercolor | 33 x 51 cm | 2012
Drawing ‘12 | 15
Claux Tatiana
Russia/France
1
2
3
Quand vous vient-il l’inspiration, le désir de faire ce que vous faites ? Trois choses me donnent l’envie de dessiner instantanément: 1. Quand je suis devant un beau tableau de nu d’un autre peintre 2. Quand je suis à Brugges en Belgique, on dirait que cette terre est imprégnée de la mémoire des peintres flamands qui ont travaillé là… 3. Quand je vois mes modèles prendre les poses, parfois c’est littéralement à couper le souffle et j’ai envie de fixer ce moment de beauté indicible pour le partager!
16 | Drawing ‘12
1 | Salomé Mine de plomb et rehauts au pastel sur papier | 65 x 50 cm | 2012 2 | Présence Mine de plomb sur papier | 50 x 60 cm | 2012 3 |
Regard de Madone / detail Mine de plomb sur lin double avec rehauts au pastel | 30 x 40 cm | 2012
Turkey
Csaki Istvan
3
1
2
1 |
Whiteout 2 */ detail
2 |
Whiteout 5*
3 |
Whiteout 3*
Ink on paper | 50 x 35 cm | 2012 Ink on paper | 50 x 35 cm | 2012 Ink on paper | 50 x 35 cm | 2012
*The artist decided to not exhibit his drawings.
Drawing ‘12 | 17
Davies Robert Miles
United Kingdom
3
2
1
What inspires you to do the work that you do ? I love to draw the natural world. I tend to scrutinize the same subject in a way that allows me to understand it. I love Sickert’s view “If you can draw you can paint. All you need to know is which end of the brush to put in your mouth.” How do you feel when people look at your work ? Embarrassed ! I am always surprised by reaction to my work. I hope they get a glimpse of the strength, beauty and truth of the subject that I have drawn. When did you start to think of yourself as a future artist ? I have always been an artist ever since I was a child. I always need enquiry and space for expression.
18 | Drawing ‘12
1 |
The Old Arcade, Rock Park Spa, Llandrindod Wells / detail Pencil on paper | 42 x 59. 4 cm | 2012
2 |
Drying Garlic
3 |
Garlic Twist
Pencil on paper | 42 x 59. 4 cm | 2012 Pencil on paper | 42 x 59. 4 cm | 2012
Switzerland
Demière Christine
1
3
2
1 |
Push-Pull 21092012 / detail
2 |
Push-Pull 11052012
3 |
Push-Pull 04042012
Marker | 70 x 100 cm | 2012 Marker | 70 x 100 cm | 2012
Comment donnez-vous un titre à votre œuvre ? Une œuvre quelle qu’elle soit a une individualité et lui donner titre est un peu comme donner un nom à un enfant, c’est donc un moment important. En choisissant un titre, je prépare mon travail pour sa sortie de l’atelier et sa rencontre avec le regard de l’autre, son ressenti. Le nom va donner des indications sur mes intentions, que ce soit pour préciser, brouiller ou ouvrir des pistes de lecture.
Etes-vous seule quand vous travaillez ? La solitude est une des composantes essentielles pour une totale disponibilité à son travail. Quelle que soit la démarche entreprise (dessin ou sculpture), je la pratique comme une forme de méditation et j’ai besoin cette composante pour me sentir en phase. Cependant cet isolement n’est que physique, car j’écoute volontiers la radio ou de la musique en travaillant et je me sens reliée aux autres. Quand vous vient-il l’inspiration, le désir de faire ce que vous faites ? L’inspiration est omniprésente, des idées me traversent constamment l’esprit; ce qui manque, c’est le temps pour les réaliser…
Marker | 70 x 100 cm | 2012 Drawing ‘12 | 19
Doyle Avalyn
Australia
3
2
1
Do you visualize your work before its creation ? Since I have a very strong connection with nature, I immerse myself in the sounds and presence of wilderness: rivers, trees, mountains, and most recently lakes, and usually in places where I sense Aboriginal people have been. These are sometimes sacred sites but not always, even shell middens and campsites attract me. I merge into a meditation and may suddenly be aware of a colour which seems to call me. I had a period of painting the landscape in pinks and oranges and only because I was led to do so by the land. I put my thinking aside and allow the spirit within and without me to guide the creation before me.
20 | Drawing ‘12
How do you feel when people look at your work ? I feel excited to have an opportunity to share the experience that led me to express my work. I have been fortunate to live in some wonderful places which have exceptional vitality and I believe people re-connecting with the beauty of the earth is mutually very beneficial. Also, when I talk about my travels around the world and research into other cultures, I often see a light of enthusiasm and sense inspiration in the eyes of the person I am talking to. This is a perfect meeting of mind, heart and soul and essentially my dharma.
1 |
After the fire
2 |
Oyster beds, Wallaga lake East
3 |
Black wattle trees
Brush, charcoal, watercolor, red earth pigment, acrylic | 57 x 77 cm | 2008 Estuarine silt, pastel, water-marked, pastel, graphite and collages | 56 x 76 cm | 2012
Grid, printed + ink, watercolor, pastel | 82 x 76 cm | 2009
Italy
Fabrizzi Karenina
1
2
3
1 | Isolda Acrylic & ink on paper | 70 x 50 cm | 2012 2 |
Lost sisters
Acrylic & ink on paper | 70 x 50 cm | 2012
3 | Chloe Acrylic & ink on paper | 70 x 100 cm | 2012
Are you alone when you are working ? Yes. I can´t work with people around. I have my studio alone and for me this is very important to have my silence, my space, sometimes I stare at one of my paintings for a long time analyzing it and in those moments I have a total concentration, it almost seams like the world stops. Are you dreaming of your works ? Sometimes when I dream I have some images or ideas of my future work. If I am working on a specific piece that is especially difficult the answer comes to me in a dream, and then I know exactly how to proceed and finish it.
When did you start to think of you as a future artist ? Once my mother told me this very funny story… When I was five years old my mother and I went to Florence to visit the ”Galleria degli Uffizi“, she told me that I stop amused at the Medusa of Caravaggio and almost in tears I said to her… ”mother, I know what I want to be when I grow up. I want to be a painter“. So I guess I think of myself as an artist since then.
Drawing ‘12 | 21
Flint Sato Christine
United Kingdom/Japan
3
2
1
Do you visualize your work before its creation ? Before I start painting I visualize the general lay out of the composition, such as the direction of the flow of the sumi, the balance of light and dark. After it dries, I use a tiny brush for detailed line work- this isn’t visualized. I follow the flow of the sumi ink patterns and my feelings. When do you know your work is completed ? Some work ‘completes itself‘. I naturally come to a full stop - the energy evaporates. With other pieces, I finish them but they are not completed. I come back to them later to continue working on them.
22 | Drawing ‘12
1 |
From Line to Land 1
2 |
From Line to Land 2
3 |
From Line to Land 5
Sumi ink on Japanese paper | 36 x 32 cm | 2009 Sumi ink on Japanese paper | 36 x 31 cm | 2009 Sumi ink on Japanese paper | 32 x 31 cm | 2009
United States of America
Gutierrez Nelson
3
2
1
1 |
The Death of Fear / detail
2 |
The Death of Fear
3 |
The Death of Fear / detail
Ink and pencil on paper | 127 x 91 cm | 2012 Ink and pencil on paper | 35 x 28 cm | 2012 Ink and pencil on paper | 35 x 28 cm | 2012
How do you give a title to your work ? I usually give a title to my work that directly relates to the subject I’m working with. For this particularly case, “The Death of Fear”, call attention to the latest social uprisings that have taken place worldwide. I’m intrigued with the manifestations and in some cases the revolutions that we have witnessed in the past 2 years. Individuals have lost their fear of governments and establishments and take to the streets to demand change. Irrespective of whether or not we agree with the uprisings, when we see images of the demonstrations, they look strikingly similar around the world.
How long can you work on your drawing ? Depending on the complexity and the scale of the work, it may take me from a few hours to several months to complete a specific work. Are you alone when you are working ? I’m usually alone when I’m working in my studio.
Drawing ‘12 | 23
Hardiment Tilney
United Kingdom
3
2
1
When do you know your work is completed ? When there is balance in the work. When inspiration comes, what are you doing ? Act on it immediately: I draw. Do you dream of your art ? All the time.
24 | Drawing ‘12
1 |
Body
2 |
Body
3 |
Body / detail
Graphite on watercolor paper | 35 x 35 cm | 2012 Graphite on watercolor paper | 35 x 35 cm | 2012 Graphite on watercolor paper | 35 x 35 cm | 2012
Egypt
Hathout Miriam
1
3
2
1 |
Donkey chariot
2 |
Donkey ride
3 |
Egyptian faces / detail
Marker on paper | 42 x 59 cm | 2012 Marker on paper | 42 x 59 cm | 2012 Mixed media | 38 x 55 cm | 2012
When did you start to think of yourself as a future artist ? I always loved painting and drawing ever since I could hold a pen in my little hands, my father encouraged me so much to continue so I joined the faculty of fine arts for 5 years. After graduation unlike most of my colleagues I felt like I should continue at this career although being an artist specially in Egypt is a BIG CHALLENGE, so I had my 1st solo exhibition 2007 and continued exhibiting my work and took my artistic career more seriously.
How long can you work on your drawings ? For me drawing isn’t just about creating beautiful artwork, it is also a release of energy whether positive or negative so I consider my work done by the complete release of the energy. I usually make a drawing at a time which takes from 2-3 hours but never get back to it once its done. How do you feel when people look at your work ? Receptors impression is what determines my drawings impact and gives me satisfaction so I care to watch the impression of my exhibition visitors and since I love making cheerful and colourful drawings I enjoy seeing the smile upon their face and become content that I could set a smile on somebody’s face even for a few moments.
Drawing ‘12 | 25
Howe Stacy
United States of America
1
2
3
How do you give a title to your artwork ? I often like to title my work in a literal way. My work is elegant by all appearances and by giving it a banal title I bring humor to the work. Some times I will title a work with a grandiose reference to poke fun of myself and the intellectual game we play to implode meaning in our work. Do you have a muse ? The Gothic tropes have a tremendous influence on my work. Victorian horror fiction, films about haunting and dementia run parallel with my adoration for the early surrealists. As children of Victorian parents the surrealists understood the idea of the uncanny. Influenced by the advent of psychology and a fascination with violence they developed an unnerving assemblage of work with chance techniques I use in my own work. 26 | Drawing ‘12
Applying the marriage of contraries I work to create the sense of unease. What is repulsive can appear beautiful. Decadence and decay are one. What is seemingly narrative is veiled with absurdity. What is wild and unmannered seep into what is ordered and rational. How do you feel when people look at your work ? There is a sense of eager anticipation when I witness people looking at my work. The viewer’s mind always twists my images to see objects I never intended. Upon hearing their responses I feel I am able to better articulate their desires and fears. My work then functions like a Rorschach ink blot.
1 |
Knife
2 |
Sow Coiffure / detail
Charcoal, pencil, & ink | 45.7 x 33 cm | 2012 Charcoal, pencil, ink, acrylic | 55.9 x 29.2 cm | 2012
3 | Swarovski / detail Charcoal, pencil, ink, acrylic | 44.5 x 39.4 cm | 2011
Switzerland
Jungo-Mondoux Catherine
1
2
3
1 |
Pyramide inversée
2 |
Thé moderne… ou pas ?
3 |
Un trait d’union
Encre de Chine sur caséine | 40 x 20 cm | 2012 Encre de Chine sur papier et caséine | 2012 Fait d’un trait de pinceau avec encre de Chine sur papier | 33400 x 7 cm | 2012
Visualisez-vous votre oeuvre avant sa création ? Oui, je vois le support et l’oeuvre en général, plutôt l’idée de l’oeuvre, mais les détails et la finalité se découvrent totalement en la faisant. Comme disent les chinois, c’est en faisant le chemin qu’on trouve le chemin! Etes-vous seule quand vous travaillez ? C’est dans la solitude, le silence que la concentration est la meilleure pour moi, c’est là que je peux me “ramasser” sur moi-même, comme un ressort intérieur, tout oublier ce que j’ai appris et ensuite déposer ce qui surgit… la main au service de la vie, du mouvement de l’être qui jaillit. Drawing ‘12 | 27
Kavvatha Antigoni
Greece
1
3
2
How do you give a title to your artwork ? The title of a work results in many different ways. One of them is based on the feeling that the work conveys. Do you visualize your work before its creation ? I visualize my work of art completely before I start. Of course in the process of working new elements may appear, which can change the original conception. When is your artwork completed ? When I feel that my original conception has been realized. How long can you work on your drawing ? The time I spend on one work varies according to how close I get to my original idea for the specific work.
28 | Drawing ‘12
What helps and what bothers you when you work ? I find that my concentration is best at night. The absence of sounds, other than my music, is the best working conditions. How do you feel when people look at your work ? I feel both curiosity and anxiety about the reaction of the viewers, especially of people knowledgeable about art. Do you dream of your art ? Sometimes my dreams refer to my works and often I find solutions to problems concerning the progress of the work. What would you change in today’s art world, if you could ? I would change the connection between the spiritual value of art and its market value. When did you start to think of yourself as a future artist ? I appreciated art since I was very little and I was always painting, but I only thought of myself as a potential artist when I had to decide my future profession.
1 |
Scapegoat I - IV
2 |
Berlin Winter VI
3 |
Berlin Winter I / detail
Acrylics on mylar | 4x112 x 30 cm | 2010 Ink on mylar | 21 x 30 cm | 2010 Ink on mylar | 20 x 30 cm | 2010
Serbia
Kojić Tijana
1
3
2
1 |
Blinded by the sun / detail
2 |
Savor
3 |
Closely examined conversations / detail
Pen, ink, stamping, acrylic and watercolor on paper | 70 x 100 cm | 2012 Pen, ink, stamping, acrylic and watercolor on paper | 70 x 100 cm | 2012
Pen, ink, stamping, acrylic and watercolor on paper | 140 x 80 cm | 2012
When did you start to think of yourself as a future artist ? I believe that I started to think of myself as a future artist since early years of my life. But, on the other hand, “to become a artist” isn’t so much a question of making the decision, but overcoming the obstacles, both external and internal, which must necessarily be encountered on the path of accomplishing and expressing of our own nature. Have you ever thought that one day this kind of art could end ? I believe not, because, for an artist, drawing is usually the first outsourcing of an idea. Plus, drawings, and works of art in general exist to provide more than just a mere quotation of the reality. True art should be an expression of a spirit that does not detest verve and ridicule beauty, that does not celebrate a combination of dismal feelings, skepticism and cynicism, as the only legitimate and dignified attitude towards the world. Drawing ‘12 | 29
Kok Nico
Netherlands
1
2
3
What would you change in today’s art world, if you could ? I would like more attention to the beauty of simple things, the hearth of the matter. That is already complex enough. Penetrate the core, the simpler the better. What inspires you to draw ? Geometric figures inspire me because they are at the basic of our existence. The square, for example, is one of the purest forms. A uniform shape which may take many other shapes, depending on the material that is used. A square is a cube when you make it three-dimensional. That is one of the reasons why I have two- and threedimensional work, it intrigues me.
30 | Drawing ‘12
1 |
Folded paper
2 |
Squares and triangles 1
3 |
Squares and triangles 3
Rubbing on folded paper with graphite | 60 x 90 cm | 2012 Rubbing with graphite | 60 x 90 cm | 2001 Rubbing with graphite | 60 x 90 cm | 2001
Netherlands
Kolff Inger
1
3
2
1 | Untitled Wash ink drawing | 65 x 50 cm | 2012 2 | Untitled Wash ink drawing | 65 x 50 cm | 2012 3 | Untitled Wash ink drawing | 65 x 50 cm | 2012
Your drawings don’t have titles. Why ? Since a few years I present my work as Untitled because I want people to be free to interpret it themselves and to reflect on it freely. I want them to be able to feel whatever the work awakens within them. How do you feel when people look at your art ? Showing my art in a way is showing myself. It makes me feel vulnerable and excited at the same time. I like it when people halt and linger in front of my work and start to talk about it. I always wish I could eavesdrop on them, without them knowing I am the artist.
Drawing ‘12 | 31
Kosić Nikola
Montenegro
1
2
3
Do you visualize your work before its creation ? I am pouring sculptures from my dreams. My figurative composition with extremely simplified form of the sculpture has multiple meanings. The light reflection varies in color. This effect is achieved by contrasting light and dark, polished and matted. These light reflections direct my three-dimensional way of thinking and create a form of a picture. Which is the best way to release my sensibility and my need for a more complex expressions. My main link is drawing, which represents the fundamentals, an idea, a still thought on paper, the first idea of my work as an artist, as a painter or as a sculptor. Nevertheless, my drawing exists even as a specific art discipline, which enriches the exhibition to have an artwork with a complete artistic expression. 32 | Drawing ‘12
What does your artwork symbolize? My artwork symbolizes voices of various motifs with persuasive unities, where the colors of the painting need the drawing and where the drawing of figure bodies need coloring. That is way the world in the painting and sculpture thoroughly corresponds with its fantasy-like composition as a whole where surreal organization of birds, people, horses in metamorphosis, is actually an illusion of possible dimension. My unity of style and motifs are built with a strong, expressive momentum and sharp contrast, while the precise abundance of lines suggests space and accentuates volume and drama, justifies the conflict rejoices to the sky, calls for Rubens.
1 |
Cavalier et cheval
Encre de Chine et plume | 28 x 38 cm | 2012
2 | Duel Encre de Chine et plume | 25 x 34 cm | 2012 3 | Duel Encre de Chine et plume | 34 x 25 cm | 2012
Netherlands
Kruimer Gerda
1
3
2
1 | Above Pencil on paper | 50 x 60 cm | 2012 2 |
Between
Pencil on paper | 50 x 60 cm | 2012
3 | Below Pencil on paper | 50 x 60 cm | 2012
How do you give a title to your artwork ? My work is serial. Sometimes I give an artwork just a number or a number and a colour. These works have titles like Grid number 1 or Grid Drawing 2007/ Silvergrey. Sometimes I give nicknames to the works because some aspects of a work remind me of something special. Like in this year: I made a series called “Singularities”. A singularity is in general a strangness, something on which the normal rules or laws are no longer valid or no longer can be used. The work entitled Singularity number 3 has the nickname “Sponge Bob”. The drawings in this exhibition are titled due to the different positions of the viewer. They have titles like: Up, Down, Between, In, Along etc.
Drawing ‘12 | 33
Lear Jill
United States of America
1
2
3
How do you give a title to your work ? The work is about being in a particular place and my attempt to transcribe that experience, and since most of my drawings involve trees I always begin by determining the latitude and longitude of the chosen tree which then becomes the title of the painting. Any person knowing the title of the painting can find the actual tree and experience the place for him or herself. Do you listen to music ? The drawings are very much about proportion and the space between things. The only kind of music I can listen to while working is: Bach. It is inspiring but orderly!
34 | Drawing ‘12
How long can you work on your drawing ? Each day I work for no more than two hours on any individual piece otherwise I lose the concentration necessary to make the difficult decisions. For this reason I have at least 3 or 4 drawings in progress at any given time in my studio. Each piece, however, can take from one month to one year. Some drawings have to be left alone for a while to know what they need.
1 |
Joshua Tree IV / detail
2 |
Joshua Tree I
3 |
SV EC XXX III
Charcoal, acrylic on paper | 104 x 76 cm | 2012 Charcoal, acrylic on paper | 104 x 76 cm | 2012 Mixed media on paper | 96. 5 x 127 cm | 2012
United Kingdom
Lloyd Nick
1
3
2
How do you title your work ? I usually find a title for a drawing after it is finished. The drawing Mathrafal for instance was made in response to walks made in the valley where the old mansion site of this name gives a strong focus to the story of that landscape. I had driven past this site numerous times before finding out something of its history. Its destruction to a mound of earth is little understood, but indicative of the terrible destruction heaped on this place by the brutal domination of the English over the Welsh in the middle ages. My drawing I think offers something of the idea of a debated land or space as the marks of the drawing jostle for position against each other. When is your work completed ? My drawings are made as part of a studio practice which is always seeking out ideas for sculpture. A drawing is usually given the accolade of being finished when a balance or resolution of marks has been achieved. Sometimes this
happens within a few hours of the paper being placed and stretched, but usually it is after several days or weeks of looking, pacing backwards and forwards, and picking up brushes, putting them down, fixing, rubbing out, moving them around and then putting them up on the wall again. Are you alone when you are working ? I find it hard to work when others are around. The silence and aloneness of the studio is a great pleasure, even though I often fill it with the noise of a radio or humming machines. The ability to be alone in the studio is essential - giving a stillness necessary to the development of a carving, a model or a drawing.
1 | Banwy Graphite and oil on paper | 84 x 59 cm | 2010 2 |
Looking West
Graphite on paper | 84 x 59 cm | 2011
3 | Mathrafal / detail Watercolor on paper | 79 x 55 cm | 2012
Drawing ‘12 | 35
Marjanović Saša
Serbia
1
2
3
How do you title your artwork ? I name my artwork after I finalize it, and only when a particular content of the painting pushes a notion that I wanted to express with this artwork. Do you visualize your artwork before you start ? When I begin painting I know roughly in which direction I will go, but I never know what will be the final outcome of the painting. What do you think about contemporary art ? I deem that artistic expression will never disappear, because it is an internal need of the person who creates it, but also the need of the person who consumes it.
36 | Drawing ‘12
Who is your favorite artist ? One of the artists who made a big impression on me is Balthus. His paintings affected me in terms of image content, especially the painting that represents his wife reflected in the black mirror. This unexpected situation, when the observer anticipates seeing the other side of her face, but actually sees a black mirror, opened an inexhaustible and a very long research in my creative journey.
1 | Identity Charcoal, pastel | 57 x 76 cm | 2012 2 | Identity / detail Charcoal, pastel | 57 x 76 cm | 2012 3 | Identity / detail Charcoal, pastel | 57 x 76 cm | 2012
Switzerland
Marmet Véronique
1
3
2
1a | Singapour, Malaisie, Thaïlande, Laos / detail Stylo, fil, végétaux | 390 x 30 cm | 2011 1b | Laos, Thaïlande, Switzerland / detail Stylo, fil, végétaux | 390 x 30 cm | 2011 2 |
Sans titre
3 |
Sans titre / detail
Encre, fil, stylo sur toile | 30 x 30 cm | 2011 Stylo sur toile | 15 x 15 cm | 2010-2011
Ecoutez-vous de la musique ? Oui j’écoute toujours de la musique quand je travaille. Parfois j’ai besoin d’un type de musique particulier, parfois je mets juste “aléatoire” sur mon appareil et je me laisse emporter par ce qui passe. Le choix de ma musique est moins important quand je sculpte que lorsque je peins ou dessine… Je rentre plus en “transe” lorsque je peins et il m’arrive même de “chanter”. Parfois je suis prise dans une musique et je l’écoute en boucle pendant des heures…
Etes-vous seule quand vous dessinez ? Oui. Pour moi le dessin est quelque chose de très intime, si il y a du monde autour de moi je n’arrive pas à “sortir” ce que je veux et mon dessin sera donc superficiel. J’ai besoin de “partir”, un peu comme en transe, je m’imprègne de la musique et je me laisse guider par ce qui se passe sur la toile. Si il y a du monde autour de moi, je suis déconcentrée par la présence de l’autre et donc pas à l’intérieur de moi!
Drawing ‘12 | 37
Meek Carl
United Kingdom
1
2
3
How do you give a title to your work and how do you feel when people look at your work ? I love the small things that we collect in life. They are footprints of where we live, where we go, what we buy, and how we see ourselves. The title of each work refers directly to what the viewer sees in front of them; a receipt, a ticket, a profile picture from the Internet, objects that are personal mementos. When the viewer walks away, I hope that they will look into their own pockets, look at their own website and perhaps think of their own footprints and remember the small history of the small object that they find.
38 | Drawing ‘12
1 |
Autobahn 1 / detail
Oil, pastel | 25 x 25 cm | 2012
2 | Tesco Oil, pastel | 20 x 20 cm | 2011-2012 3 |
Gehrard Richter XIII
Oil, pastel | 19 x 19 cm | 2012
Switzerland
Mermoud Sylvie
3
1
2
1 |
Passages I
2 |
Passages II
3 |
Passages III
Encre de Chine | 50 x 65 cm | 2010 Encre de Chine | 50 x 65 cm | 2011 Encre de Chine | 50 x 65 cm | 2012
Visualisez-vous votre oeuvre avant sa création ? Je ne visualise pas mon oeuvre avant sa création. Mes dessins s’élaborent petit à petit. C’est un long processus. Les éléments s’enchaînent les uns aux autres. Je découvre mon oeuvre au fur et à mesure que je la réalise. C’est une démarche intuitive et un travail méditatif. Faites-vous des croquis au départ de votre création ? Je ne fais pas de croquis avant mes dessins. Je pars directement d’un objet ou d’une image qui me touche particulièrement puis je m’en éloigne progressivement pour exprimer mon monde intérieur et imaginaire.
Drawing ‘12 | 39
Middelmann Naomi
Switzerland
3
2
1
Why are you an artist ? Having been raised in a multi-cultural family, words seemed to me an inarticulate translation of experience. It is only in art that I found a language that was more articulate than I could ever be with my own words. When inspiration comes, what are you doing ? My art is always born out of an impulse from a new found material, a rhythm found through drawing, a tonality, the poetry I am reading, the music I am listening to, the change in seasons… Those are the things that compel me to create.
40 | Drawing ‘12
What do you draw ? I draw everything from the paint bottles, brushes, and old paint bowls to rocks, trees and water. Nothing is too mundane. I’m not looking to give an exact rendition of what I am looking at, but rather to get a feel for its shape and its rhythm.
1 |
Rocks and trees
2 |
Nature morte 1
3 |
Nature morte 2 / detail
Black volcanic sand | 70 x 50 cm | 2012 Oil, pastel, graphite | 70 x 50 cm | 2012
Oil, pastel, black volcanic sand, graphite | 70 x 50 cm | 2012
Australia
Newman-White David
3
1
2
1 |
Patriarch
Pastel-pencil on Stonehence paper | 54 x 78 cm | 2011
2 | Aristotle Mixed media on Stonehence paper | 54 x 78 cm | 2011 3 | Chris Pastel-pencil on Stonehence paper | 54 x 78 cm | 2011
How do you give a title to your work ? Because names have such a strong impact on people, particularly in the commercial world, I have chosen not to use the true name of my subject. Instead I will give them the name of a Philosopher or a Saint or I will use a title or name that will give the viewer an association between that name and work that they are looking at. Do you visualize your work before its creation ? Before I draw, I discard every thought, every idea and all preconceptions so that I can engage myself completely with the process of drawing, then I am able to submit myself completely to the portrait drawing.
Drawing ‘12 | 41
Opstelten Karen
Netherlands
3
2
1
Do you visualize your work before its creation ? I almost always see the things in my mind before I make them. Often spontaneous but in the case of these three drawings after thinking about them for hours. These drawings are made inspired by the news of that day, and form a direct line from the outside world to my inner world. I see the news as a visual problem a puzzle and search for a visual answer in my mind. Often the best images emerge in my sleep or when I am just awakening. The news was: 6-9 2012, Ice cream company Ben & Jerry’s sues American porn producer for alleged illegal use of the name of one of their popular flavors for a series of porn movies entitled ‘Ben & Cherry’s’. 24-8 2012, it looks like Perestrojka but it isn’t. It looks like the 28 year old Kim Jong after the death of his father promises a new age of transparency, but it 42 | Drawing ‘12
seams vane hope. The women that are allowed short skirts and high heels disguise the ever lasting repression. 10-8 2012, Manteo Mitchell ran the last 200 meter with a broken leg. What would you change in today’s art world, if you could ? I would change the idea that every artwork should be above all innovative. Art history is important for every artist and reverting to old art makes the art world complete. For me good artwork is specifically intense and very personal. In the art world of today it seems more important to relate to contemporary art, and be very original and not sentimental.
1 |
24-8 2012
2 |
6-9 2012
3 |
10-8 2012
01. ink on paper | 21 x 30 cm | 2012 01. ink on paper | 21 x 30 cm | 2012 01. ink on paper | 21 x 30 cm | 2012
France
Pajak Jacques
1
2
3
1 | 2083 Ink on paper | 61 x 48 cm | 2 | 2182 Ink on paper | 61 x 48 cm | 3 | 1687 Graphite on paper | 61 x 48 cm |
Drawing ‘12 | 43
Paldam Jens
Denmark
2
1
3
How do you give a title to your artwork ? I work with abstract drawing, and I try to take the drawing where the pen leads me. Inspite of this there is always a kind of motif or an idea that comes about in the early stages of the drawing, I name the drawing in accordance with this, to give the viewer access to the way I see the drawing. Do you visualize your work before its creation ? I rarely decide what I want to draw before I draw it, because it is important for me to get the feeling that I am making it up as I go along. I am trying to bring out images from my mind, that I didn’t know existed, rather than drawing the images that I already have there.
44 | Drawing ‘12
Have you ever thought that one day this kind of art could end ? It is difficult for me to imagine, that people would one day stop drawing. There is no way of knowing if humans were singing 40,000 years ago, but we know that they drew on the walls in their caves. Drawing is one of the most fundamental ways humans can express themselves, when we are long gone and all our digital data is lost, our history up until the day we vanish can be traced through our drawings and graffiti.
1 |
Black Crystal
Gouache and ink on paper | 59 x 42 cm | 2009
2 | Kronborg / detail Watercolor and acrylic paint on paper | 76 x 56 cm | 2012 3 |
Two gentlemen
Gouache and ink on paper | 59 x 42 cm | 2009
Switzerland
Pantillon Anne
1
3
2
1 | Horizon Encre de Chine et collage | 43 x 56 cm | 2008 2 |
Horizon B
3 |
Horizon B
Encre de Chine et collage | 43 x 56 cm | 2008
Combien de temps prend l’élaboration d’un travail ? Mes “Horizons” m’habitent depuis longtemps, comme une mélodie toujours présente. Regarder au loin, le lac, les montagnes, à chaque heure du jour. L’horizon est un support pour rêver, penser et garder le cap sur les choses essentielles de la vie.
Encre de Chine et collage | 43 x 56 cm | 2008
Drawing ‘12 | 45
Pedrosa Valentin
Spain
3
2
1
When is your artwork completed ? It is finished when the picture is perfect and balanced respect to the colour, form and composition; when I have said all I wanted to say. It is a very personal and irrational process, based on my aesthetical preferences, in the way I look at things and how I feel the colour and composition. How do you feel when people look at your work ? I feel curiosity for discovering what my picture is making feel people, which sensations, feelings and thoughts is producing and if they agrees or not with the message I am transmitting. This process enriched my work and me.
46 | Drawing ‘12
1 |
Deep see
2 |
AT Delivery
3 |
New life
Pastel | 77 x 55 cm | 2010 Pastel and ink | 77 x 55 cm | 2012 Pastel | 77 x 55 cm | 2011
Brazil
Pina Yara
1
3
2
1 |
Untitled 2
2 |
Untitled 4
3 |
Untitled 5
Charcoal and canvas action documentation | 2011 Charred frame action documentation | 2012 Body part wrapped with paper | 2012
Your works don’t have titles ? My works don’t have titles. They are untitled. The process, the materials and action of the body are more important than titles. Do you visualize your artwork before its creation ? My works before creation are thought as actions, gestures, body and matter. How long can you work on your drawing ? In general, the time of my work coincides with the exhaustion of the body, the total destruction of the object and the abusive use of materials.
Drawing ‘12 | 47
Plein Nadja Gabriela
Germany
2
1
3
How long can you work on your drawing ? I work for many hours on end, often forgetting to eat, forgetting that I am cold when it’s winter. What is your favorite artist ? My favourite artist is Matisse. I love his colours, his freedom of expression, and creativity. Have you ever thought that one day this kind of art could end ? I once dreamt the first people invented drawing by using a torch to draw onto the black night sky. Drawing will only end when humanity ends.
48 | Drawing ‘12
1 |
Snow forest 39
2 |
Snow forest 40
3 |
Snow forest 38
Ink (pen + brush) and watercolor | 45.5 x 30 5 cm | 2012 Ink (pen + brush) and watercolor | 30.5 x 45 5 cm | 2012 Ink (pen + brush) and watercolor | 45.5 x 30 5 cm | 2012
Bulgaria
Popova Milena
1
3
2
1 | Memory Graphite, watercolor, acryl and pencil on paper | 44 x 64 cm | 2011 2 |
Ice cream
3 |
The aria
Graphite, watercolor, acryl and pencil on paper | 44 x 64 cm | 2011
How long can you work on your drawing ? I work mostly on a high level of concentration, in a short time, but some of my drawings / works are into a developing process over years. Do you listen to music ? Yes, I listen to music, but it depends on ”the mood“. What is your favorite artist ? My favorite artist is Van Gogh, because his world of colour impresses me again and again.
Graphite, watercolor, acryl and pencil on paper | 44 x 64 cm | 2011
Drawing ‘12 | 49
Rage Peter
Switzerland
2
1
3
Comment donnez-vous un titre à votre oeuvre ? Jusqu’à maintenant, j’ai toujours donné un titre à mes oeuvres. Je définis le titre lorsque mon oeuvre est signée, car il me vient lors de la création. Visualisez-vous votre oeuvre avant sa création ? Oui presque systématiquement. Parfois c’est une visualisation claire et je ne fais que suivre le trait imaginaire, parfois je le suis de façon empirique selon mon état d’âme. Quelle est votre technique préférée ? Bien que j’adore le travail de l’acrylique et que c’est ma plus grande activité en ce moment, cette exposition sur le thème du dessin m’interpelle. Car je me rends compte à quel point j’aime la simplicité: une feuille de papier et un crayon. Partout où je suis, si vous mettez un crayon devant moi, je vais de suite dessiner. 50 | Drawing ‘12
1 |
Where is the way ?
2 |
The Kingdom
3 |
The temple of life
Marker | 70 x 51 cm | 2004 Marker | 42 x 29.7 cm | 2003 Marker | 50 x 36 cm | 2003
Colombia
Rodriguez Oscar
1
3
2
1 |
Sans titre
2 |
Sans titre
3 |
Sans titre / detail
Fusain, graphite | 30 x 40 cm | 2008 Fusain, graphite | 50 x 34 5 cm | 2009 Fusain, graphite | 30 x 40 cm | 2011
Pourquoi vos dessins n’ont-ils pas de titres ? Je ne donne pas de titre car mes dessins parlent tout seuls, vu que c’est de l’art figuratif, hyperréalisme. Combien de temps pouvez-vous travailler sur votre oeuvre ? Je travaille environ 50 heures par dessin. Êtes-vous seul quand vous travaillez ? Il me faut impérativement être seul car ce travail demande beaucoup de concentration.
Drawing ‘12 | 51
Roos Pris
Netherlands
3
2
1
How do you feel when people look at your work ? When people look at my work I feel nervous, happy and curious. It feels like bringing your new girlfriend to your parents place. You just want them to approve her because this is who makes you happy. Like love, my work is a piece of my heart. Do you dream of your art ? After finishing a new artwork I sometimes have to pinch myself. During that process of drawing I’m so focused it feels like I’m in a dream. And also the best thing about being an artist is that we can create our dreams on paper.
52 | Drawing ‘12
1 | Bathands Ink on paper | 42 x 29,7 cm | 2011 2 |
Elephant in the room
Ink on acryl paper | 70 x 50 cm | 2011
3 | Rhinoceros Ink on acryl paper | 70 x 50 cm | 2012
Serbia
Salaški Milica
1
3
2
1 | Intersection Mix media | 50 x 70 cm | 2012 2 | Intersection / detail Mix media | 50 x 70 cm | 2012 2 | Intersection / detail Mix media | 50 x 70 cm | 2012
Do you visualize your artwork before drawing it ? I like the idea that the image of a human, a sensitive figure, is rejected and superfluous in the field of contemporary painting. Therefore, there is enough space, the void, to show dehumanized apocalyptic landscape and ask the question ”Where is the man here?“. The people I paint are placed in the space of my image, visualized through the movement or inserted, futile or surprised, pinned down by the heavy atmosphere of the painting.
Where do you get your inspiration ? From each dream I work through my painting on the most striking image, which looks realistic only at the first glance. I deem that the reality is more imaginative than visions but sublimated with dreams, gives subject a reality that tends to disappear, like a dream after awakening. I can easily imagine how the figures disappear from the fields of visual images, but what will remain present is their essence, their physicality, the idea about the human being.
Drawing ‘12 | 53
Senoj Mit
United Kingdom
3
2
1
Do you listen to music, where and how long ? I always listen to JS Bach, particularly the Fugues, when working on a drawing in my studio. Bach’s work is full of movement and layers, all is contained through the discipline of virtuoso playing. These are the qualities that I wish to convey through my own work.
54 | Drawing ‘12
1 |
A friend
2 |
King Bug
3 |
In place
Indian ink | 21 x 29.7 cm | 2012 Indian ink | 21 x 29.7 cm | 2012 Indian ink, watercolor, shellac | 21 x 29.7 cm | 2012
Serbia
Stanojević Jovanka
1
3
2
1 | Drawing* Graphite on paper | 33 x 33 cm | 2012 2 | Drawing* Graphite on paper | 33 x 33 cm | 2012 3 |
Untitled www
Graphite on paper | 33 x 33 cm | 2012
* Drawing lost in artist atelier after selection for exhibition!
Are you alone when you are working ? I always work in solitude. The best art is created in solitude, for good reason: it’s only when we are alone that we can reach into ourselves and find what we seek. What is your favorite format ? The dimensions of my paintings and drawings vary, it is like each one of them is a story, an experience on its own. Sometimes the story is just right as a short one, sometimes it needs to be monumental to be able to give the right message. When are you inspired ? I do not believe in inspiration, I believe in ideas and hard work and discipline in conducting those ideas. I see art as a life pulsating being with ever constant tendency for growth and developing. Only through consistent work new ideas emerge making the evolution of ones body of work possible.
Do you visualize your work before its creation ? First there is a need or an idea as one can call it, for which a method must be found. As idea leads, the form of art emerges and as the work itself accumulates - another world is being created for the viewer to walk into. How long do you work on your artwork ? My work is very slow; it evolves very slowly. When you are there, as Cezanne said, you keep seeing more and more things. The longer you look, the more you see. I could work on a single painting for years and it really feels like I could paint one painting forever. I discover new things, new relationships. It is by painting it that I clarify it to myself. You keep searching and searching. And to say that you have found it is not true. You have only found one section. I think of it as a never-ending pursuit, but ultimately you have to finish a painting. You do. And you finish it when you say to yourself, I have worked on this painting as much as I can and it is not getting any better.
Drawing ‘12 | 55
Tank Douglas Christian
Switzerland
1
2
3
Visualisez-vous votre oeuvre avant sa création ? Oui, elle est une réalité, un lieu vu sur place, mais détaché de sa liaison terrestre. L’usage du noir/blanc me permet de renforcer sa transposition graphique… (ma période de coopérant au sud Maroc et mes errances dans les Krebs et Ergs). Ecoutez-vous de la musique ? Laquelle et combien de temps ? Oui, des enregistrements personnels réalisés sur place avec des musiciens isolés et, entre les phrases musicales, le bruit du vent et aussi quelques fois des voix éloignées. Cela me donne le vrai sentiment de l’espace infini. J’écoute cela durant la mise en volumes et des musiques plus festives durant la mise au net.
56 | Drawing ‘12
Quand vous vient-il l’inspiration, le désir de faire ce que vous faites ? Au retour de mes séjours sur place, mais aussi après une soirée avec des amies marocaines lorsque l’on a visionné des diapositives et que parfois je m’éloigne de la réalité lorsque l’on est dans cette ambiance chaleureuse… (le souvenir d’une femme qui ma guidé dans dans les premiers sites après avoir vu des croquis d’intention réalisés dans ma pension au sud du Maroc).
1| Voûtes de silice Dessin à la plume, encre | 50 x 70 cm | 1981 2 |
Parois érodées
Dessin à la plume, encre | 35 x 50 cm | 1981
3 | Formes de vie Dessin à la plume, encre | 70 x 50 cm | 1981
Australia
Ten Wolde Nel
2
1
3
1 | Alhambra Photo collage, drawing on paper | 56 x 76 cm | 2012 2 |
Soldados III
3 |
La Tierra
Photo collage, drawing on paper | 56 x 76 cm | 2012 Photo collage, drawing on paper | 56 x 76 cm | 2012
Do you listen to music ? Where and how long ? The process of making my collages starts when I’m walking in the countryside and taking pictures. At this stage I don’t have music with me, I love to hear the sounds of nature. When I get back to my studio I put music on, mainly jazz, in order not to get disturbed by sounds at home, so that I can imagine myself in the same space as where I took the photos.
Who is your favorite artist ? My favorite artists are Salvador Dali, Pablo Picasso, Elsworth Kelly, and David Hockney. Kelly because of the unusual abstract shapes he puts in the landscape, Dali and Picasso because of their very creative ideas and drawings techniques, and Hockney especially because of the last series of landscapes he made that really inspired me. When are you inspired to make your arworks ? I am very observant when I am walking or driving through landsacape. My collages have all been inspired by very long walks I did in Spain. I like to share with people the things I see, the very detail of beauty. I became fascinated by drawing and painting when I studied art at the Rietveld Academy in Amsterdam. Drawing ‘12 | 57
Tingård Emma
Sweden
1
2
3
How long can you work on your artwork and are you alone when you are working ? I always work alone. I need the silence to keep focused. When working - time flies by and I can work for hours and hours. I often finish a day’s work when it suddenly is too dark to continue. The paintings take about 1-2 weeks to complete.
1 | Marcelo Oil pastel on velour paper | 50 x 70 cm | 2012 2 | Pablo Oil pastel on velour paper | 50 x 70 cm | 2012 3 | Balloons Oil pastel on velour paper | 50 x 70 cm | 2012
58 | Drawing ‘12
Russia
Tretyakova Tatyana
1
3
2
1 |
Le vernissage, série du week-end agité / detail Encre de Chine, collage | 70 x 100 cm | 2010
2 | Incomprise Encre de Chine, collage | 50 x 70 cm | 2008 3 |
L’amour perdu
Quand avez-vous commencé à penser à vous comme une future artiste ? Depuis, que je suis toute petite je voulais peindre/dessiner, j’ai participé à des concours, des expositions pour enfant. Chaque fois que mes parents me proposaient un métier, je répondais, têtue, que je voulais devenir artiste pour peindre et dessiner dans le monde entier.
Quelle est votre technique préférée ? Ma technique de dessin favorite est un mélange d’encre de Chine et de collage de papier. J’apprécie beaucoup l’encre de Chine car l’on peut facilement passer d’un trait fin à un trait gras et ainsi faire de belles et gracieuse courbes. Je chiffonne le papier, le trempe dans la peinture, puis le repasse au fer, lui donne une forme ce qui permet de rajouter du relief et de la couleur dans mes oeuvres. Visualisez-vous votre œuvre avant sa création ? Quasiment à chaque fois avant de commencer une nouvelle œuvre, je visualise mentalement une maquette, parfois détaillé parfois non.
Encre de Chine, collage | 46 x 62 cm | 2011 Drawing ‘12 | 59
Tucović Jovana
Serbia
3
2
1
Do you visualize your work before creation ? I do visualize it, but the idea is never clear. It is enough to show me in which direction I have to go, what ”atmosphere“ I have to create, but it never shows me what the work will look like exactly. I often have problems reaching that primal idea, there is always a missing part. But when I do find it, that ”atmosphere“ I wanted to create, then the piece is completed.
60 | Drawing ‘12
Do you dream about your work ? In a specific way, yes. People I use as models are often people close to me, sometimes when I dream about them, they are not my friends, but my sculptures, characters from my work. And conceptual and technical problems of one piece are like his or her own personal problems, so we discuss them. Sometimes when I start working on something new, I dream about a piece finishing itself, showing me what I have to do.
1 | Fading Charcoal on aluminum | 60 x 60 cm | 2012 2 | Fading / detail 3 | Fading / detail
Serbia
Tucović Milan
2
3
1
1 | Overhaul Charcoal, paper, pastel | 76 x 56 cm | 2012 2 | Overhaul / detail 3 | Overhaul / detail Do you dream about your work ? In a specific way, yes. People I use as models are often people close to me, sometimes when I dream about them, they are not my friends, but my sculptures, characters from my work. And conceptual and technical problems of one piece are like his or her own personal problems, so we discuss them. Sometimes when I start working on something new, I dream about a piece finishing itself, showing me what I have to do.
Do you visualize your work before its creation ? It is necessary to assume the situation or to create the conditions to create a situation in which I can make a sketch. I lay the foundations for future work, that had been already planned. I also allow material with which I work to partially change the idea. The work is created in collaboration among ideas, materials, working processes and sometimes wonders that make the art. For this the music is indeispensible. Muses have not visited me for some time, nor do I wait for them.
What would you change in today’s art world, if you could ? We live in a time that has no new major and unifying social ideas. We have been able to relativize everything and bring also everything into question. It may be considered that this state of relativism is that freedom for which the artists and other curious spirits had sought for centuries. If we didn’t have this we wouldn’t have an overall crisis. Economic crisis, moral crisis, identity crisis, environmental crisis, and energy crisis… Globalism is in crisis, national ideas, too. Our art is just a disturbing reflection of the condition in which we are. An art in which is impossible to establish the system of values - “all is permitted, but not all is useful”, said Apostle Paul. So it is necessary to change the society. A giant task for an artist, even when his imagination flies. Drawing ‘12 | 61
Turney Wieland Barbara
Australia
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1
2
How do you give a title to your artwork ? When I am finish a piece I spend some time looking at it. I wait for a name (or names) to come into my head and then choose what fits the piece best. Do you visualise your work before its creation ? No, unless I am working from a photo, which is rare. I try to just let go, find a starting point and just follow that lead to see where it takes me. This way I am always surprised by what I create. Are you alone when you are working ? Yes, always. I enter the studio, play some music and put myself in the “zone”. It is like a meditation with movement. I have to be centered.
62 | Drawing ‘12
1 |
Sister Mine
2 |
Meadow dancing
Pencil | 29.7 x 21 cm | 2012 Pencil | 29.7 x 21 cm | 2012
3 | S’envoler Pencil | 29.7 x 41 cm | 2010
Germany
Voigt Wolf-Gunter
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3
3
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Poetry in Lines No 211-1122-05
2 |
Poetry in Lines No 211-1122-01
3 |
Gesture in Lines No 212-0903-01
Pen and ink on paper | 13 x 18 cm | 2011 Pen and ink on paper | 13 x 18 cm | 2011
Brush, black & brown ink on paper | 56,5 x 75,5 cm | 2012
Warum haben meine Bilder keinen Titel ? In meinen Arbeiten setze ich Empfindungen und Visionen um in Gesten, die als Linie, Liniengeflecht, gerichtete Fläche und / oder Farbwert Gestalt annehmen. Ich erzeuge ein vielschichtiges optisches Erlebnis. Titel können dem Betrachter eine Brücke bauen, aber ich fürchte, sie lenken ihn vom Eigentlichen - dem emotionalen Nachspüren des Gesehenen - ab. Haben Sie eine Muse ? Die Natur ist meine Muse. Sanfte, unendliche Atmosphäre; die Kraft des Lichtes; zeitlose erhabene Schwere der Berge und die Wucht des Wassers. Mein Allem widerstehender Baum, die leuchtendlockende Blume und die feuchte Sanftheit der Gräser - hier hole ich mir die Energie, die ich für meine Linien, Formen und Farben brauche. Drawing ‘12 | 63
Walker Ernesto
Mexico
3
1
2
What is a key concept in your art ? I think that chance becomes the constitutive element of life, considering everything that happens gives shape to us is dictated by fortune and, most of the time, escapes our capability to control it. From the place and time in which we were born, to the people we meet and the context in which we develop, we are always exposed to an endless number of accidents which finally are the main source of our individuality and the supplier of an unquantifiable amount of information at many levels. The mystery becomes more complex when all this data gets interiorized and systematized in our mind, having as a result a unique profile.
64 | Drawing ‘12
In my art, I always try to promote a perspective that gives priority to contemplation and to respect the hermeticism of chance as the fundamental source of meanings. Regarding this, I look for codes and reinterpretations as a way to take this debate to a terrain separate from everyday life and to translate all the information that surrounds us into structures that play with the arbitrary way in which every individual works in the hands of chance.
1 | Untitled Ink over paper with two copies | 7.5 x 2100 cm | 2010 2 |
Study of destruction and its collateral effect of transcendence 2 original ink drawings shreded and in bottles | 13 x 9 cm | 9 x 9 cm | 2010
3 |
Page 25
Ink over digital camera manual | 172 x 90 cm (polyptych) | 2011
Germany
Wolfskämpf Andrea Dora
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2
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Sans titre
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Sans titre / detail
3 |
Sans titre
Crayon, feutre, pastel, oilstick sur papier | 80 x 150 cm | 2012 Crayon, feutre, pastel, oilstick sur papier | 80 x 150 cm | 2012 Crayon, feutre, pastel, gouache sur papier | 110 x 150 cm | 2012
Do you listen to music ? Where and how long ? Yes, I often listen to music in my atelier while I am working, the music creates a world around me and my work. Most of the time I hear only one CD on my old Sony CD player - I don’t even notice when it stops… My favorite musician is Keith Jarrett… Sometimes music is also the singing of the birds, the rain, the silence in the room… Are you alone when you are working ? Yes, I am always alone when I am working. Do you dream of your works ? I don’t dream of my work that is already reality but I dream of future projects. The last one was an order for a painting on a huge wall of a new theatre building…
Drawing ‘12 | 65
swiss art space place suisse des arts schweizer kunstraum
thanks A big thank you to all those who have made this event success ! Olivier Bettens, Alexander Elmer, Ivan Ivanović, Fabrice Wagner, Roanne Martin, Abraham Georges and all artists of Drawing 2012… And also… Beba and Sreten Stefanović and the family Bettens for their support and patience. Our gratitude to Régis Colombo and Peca Popović Laurence & Dragan
swiss art space place suisse des arts schweizer kunstraum
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Concept, organisation, creation of three exhibitions and publishing and production of the Review Drawing 2012. Swiss Art Space / SAS Association Swiss Art Space / ASAS Laurence Bettens-Girod | edition & organisation Dragan S. Stefanovich | art direction & design Régis Colombo | photography / drawings, sculptures Patrick Dupont | photography / paintings Ellen Fransdonk | photography / portraits Fabrice Wagner | photography / openings Ivan Ivanović | video / interviews Lj. Sedlar | video / production Alexander Elmer | internet / social networks Olivier Bettens | architecture / exhibitions Roanne Martin | review / english proofreading International contact Swiss Art Space | Gallery & Publishing Laurence Bettens-Girod +4121 320 3977 | gallery@swissartspace.com Rue du Valentin 32 | CH-1004 Lausanne | Switzerland Copyright © Swiss Art Space, Drawing 2012, Lausanne, Switzerland All rights, especially copying, distribution and translation reserved. Without written permission of the publisher it is prohibited to reproduce any material contained in this book-review, even partially, to make copies or retransmit by any means whatsoever, electronic or mechanical (including photocopying, microfilm, sound recording or visual database system or any other reproduction or transmission). Errors and omissions excepted, no liability shall be borne by Swiss Art Space for any changes following the date of print of this publication.
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International Exhibition of Contemporary Drawing | Drawing 2012 |