UWE Drawing and Print 2021 - Pandemic Sketchbook

UWE DRAWING AND PRINT 2021 PANDEMIC SKETCHBOOK

CONTENTS PAGE Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 – 4 Mae Anderson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 - 6 May Bell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 - 8 Claire Blackburn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 - 10 Phoebe Cowell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 - 12 Bethan Dallimore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 - 14 Abby Davies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 - 16 Toby Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 - 18 Isobel Dyte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 - 20 Sam Evens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 - 22 Beth Gare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 - 24 Tori Guilfoyle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 - 26 Henry Harvey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 - 28 Damira Khairi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 - 30 Marie Lister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 - 32 Anna Lockett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 - 34 Shannon Lopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 - 36 Marine Loyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 - 38 Chloe Lunt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 - 40 Jo McAllister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 - 42 Anna McDonald-Anakaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 - 44 Tilly Muir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 - 46 Miranda Parry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 - 48 Emily Pearce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 - 50 Jelena Rasevska . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 - 52 C. Reacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 - 54 Francesca Salva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 - 56 Amy Stevenson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 - 58 Charlotte Tempest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 - 60 Alfie Warder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 - 62 Megan Wheatley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 - 64 Meg Buick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 - 68 Ian Chamberlain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 - 70 John France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 - 72 Lucy Ward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 - 74 Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 - 76

INTRODUCTION This has not been an easy year, but we have come through it together by drawing. Whether confined at home, or in student accommodation, drawing was still possible when other forms of creativity were not.

Drawing only requires simple means and materials, but drawing has proved to be vital to all of us. Over the last few months, drawing has proved how versatile, adaptable, and portable it can be. We have connected by drawing together, we have used drawing to record the unfamiliar times, and our ever-more-familiar surroundings. Drawing has distracted us from bad news, kept us occupied when we couldn’t go out and has given us time away from screens. Drawing is lo-fi, it is accessible, and as such it is powerful.

Throughout all this, our students have proved their adaptability too, their willingness to take on new challenges and to remain resilient. Our students have produced some exceptional work, pushed themselves to reveal new ways of working, and made great leaps in their artistic practice. They have showed commitment and perseverance.

Their ’Pandemic Sketchbook’ is a snapshot of works in progress, ideas, and thoughts, a record of the work they have made during this year.

We would like to thank all our students for their dedication and their drawings, and wish them all the best for the next stage of their lives.

Programme Leader, BA Drawing and Print Lucy Ward And the programme team, Ian Chamberlain, John France, Meg Buick

MAE ANDERSON

instagram: @maemadethis Making work during the pandemic a�er moving home with no acce difficult. I felt overwhelmed by all of my stuff shoved into the �ny b only way I felt able to deal with it was documen�ng the declu�erin made of the centre of an A1 pain�ng – a pain�ng where I had docu rubbish, hair �es, etc, on my bedside table over a series of 5 days

ess to tradi�onal studio facili�es was box room at my mum’s house, and the ng process. This concer�na book is umented the build up of cups, bits of

Zennor c Claire Blackburn (Instagram) claireblackbur

“Art is the only way to run away

coastline rn55. (email) claireblackburn55@gmail.com

without leaving home” Twyla Tharp

Phoebe Cowell @phoebe.amber.art I use fragments as artefacts that represent an imagined time and place. Places that are created through responding to the emotional landscape I find myself surrounded be. I make messes and let them inform themselves so that the work builds in layers and then compiles on top of itself. Largely it is a personal study of how I feel.

Bethan Dallimore Observational Sketches From Lockdown 2021

@bethdallimore_art Bethan2.Dallimore@live.uwe.ac.uk https://bethandallimorefinalyearblog.weebly.com

Dur wor con frag free

ring Lockdown 2021 Bethan dallimore broaden her more interior themed rk to more personal observational scenes throughout Bristol, with the ntrasting vernaculars of wildlife and city riots whilst still encapturing the gility of life, and the contrasting emotional conitations with uprising , loss, edom and nature.

Abby Davies (Material: Stick and Indian Ink/Ink Wash) Email: Davies_abby@yahoo.co.uk Instagram: abbyy_davies

Pandemic Sketchbook Toby Day Email: Tobyday26@gmail.com

Blog Website link: https://tobydaysdplevel3.weebly.com

Over the course of the pandemic my working practice has adapted the start of the first lockdown, I found it very challenging to find t subject matter while only really spending time in the park or at ho about what familiar spaces mean to me and how our perception of becoming desensitised to inspirational sights such as simply lookin which were once relaxing. This way of thinking has fuelled most o landscapes of locations which have had an impact on me as well as paint, such as these somewhat abstract ones in the centre and on th

m

d several times with both positive and negative results. At the motivation to consistently make work and think of ome with my family. After a while I started thinking more f places is affected by being in them every day – for example ng out the window or feeling closed in or isolated by spaces of my project this year using my imagination to alter s focusing on self-portraits because of a lack of subjects to he right.

Isobel Dyte

During lockdown, my sketchbook pages have had the most development as the calming effects of nature provide an escapism for me. These charcoal drawings were formed from the idea that no matter what is going on in the world, there will always be hidden beauty within nature.

Instagram: @isobellucyxx Website: isobel1999.weebly.com Email: isobellucy@hotmail.co.uk

Beth Gare @bethgareart

beth_gare@yahoo.co.uk

In m cur this onl por lim alw rec Wit to b -Da

Capturing the stillness of life during this pandemic.

my developing series, I aim to bring the viewers to discuss the being of this rrent life surrounded by man-made machines. In the pause of time during s pandemic, I managed to dance with isolation and made it my friend. Not ly I see machines and technology as human advancement, but also a way to rtray how the human mind when left alone, can achieve dreams beyond mits. With repetition of muscle and mind, mankind has always and will ways be surrounded by their own creation. I firmly believe that I am here to cord those creations. th my original artworks, I aim to deliver a healthy message to all the viewers bring colour in this life of grey. amira Khairi ‘21

Chloe Lunt

Instagram – chloe.lunt.ar

During the pandemic I took to focusing on finer details of smaller scale. I also investigated experimenting with colo

rt

Website – chloeluntart.weebly.com

f historical places, as I was forced to create my work on a our and how this affected the drawing.

Jo-Anne Mc Allister

Anna McDonald-Anakaa email:

amcda@hotmail.co.uk

website: https://annamcdonaldanakaa.weebly.com/

Miranda Parry miriparry@gmail.com @miriparry_drawings

Emily P 07525758574

emily.pearce@r

The lockdown quickly turned leaving me with a slightly tipsy – an oil spill over

Pearce

rocketmail.com

@scremart_

d into an endless booze fest, y and abstract view of the city r Bristol harbour.

Jelena Rasevska "The national lockdown - it is the best time to look at the ordinary things with a completely new sign.

The national lockdown - it is the best time to look at Yourself." ✉ elenrushart@gmail.com

elen_rush

Elen Rush

The pandemic was a big change in everything and to everybody, in my ar alongside my studies and I am using drawing to re

rtwork I have taken advantage of it, I am working in the hospital part time ecord my memories of what I saw over the last year.

Alfie Warder

LECTU WO

URER’S ORK

Meg B

Buick

Ian Chamberlain

www.ichamberlain.co.uk

in

During the lock down period with no access to print facilities I have concentrated on my orig My work usually focuses on technological advancement and development but this body of w

nstagram.com/ichamberlainartist

twitter.com/iancchamberlain

ginal drawn works, working with the themes of Shelters, outposts and Boundaries. work concentrates on mankinds basic need for shelter and protection from the elements

John F

France

ACKNOWLEDGEMENTS We want to take a moment to give thanks to all the students who submitted their work to this publication.

We know it has been a difficult final year and we are grateful to be able to have the opportunity to produce and share this publication with you.

We also want to thank the lecturers for supporting us throughout our degree and making this course such a gratifying experience.

Invaluable help came from Tom Abba who has assisted us throughout the production of the publication.

Special thanks go to the catalogue committee:        

Mae Anderson Phoebe Cowell Sam Evans Shannon Lopes Jo Mc Allister Miranda Parry Amy Stevenson Megan Wheatley

As well as the publication team:  

Shannon Lopes Amy Stevenson

Cover artwork designed and created by Shannon Lopes and Amy Stevenson