The Resilience of Drawing, June 22nd 2016
The Banqueting Hall, Chelsea College of Arts
2-5pm The Resilience of Drawing symposium
How does drawing continue to remain so significant a form in our Post Digital age?
Artists and curators Rachael Whiteread, Mary Doyle, Hillary Mushkin, Tim Knowlesand Angela Kingston led talks throughout the symposium and explored the resilience of drawing in our Post Digital age. The event was chaired by Tania Kovats.
'Drawing continues to offer compelling visual communication across a range of creative disciplines operating as a shared place maker, build bridges between thinking and making, and a resilient form of deep human interaction.'
This event also marked the re-launch of The Centre for Drawing: Wimbledon and an associated digital archive of the Centre's previous activities. The Centre for Drawing was the first specialist drawing centre in the UK and has a unique place in the story of how drawing has moved from the peripheral to an expanding field in its own right.
I felt that this debate was as relevant to painting as it was to drawing. Both disciplines involve mark making.
For me the most engaging speakers were Rachel Whiteread and Tim Knowles. Their practices were as fascinating as their dialogue.
With Rachel Whiteread her drawing illustrates the way she thinks and comes up with ideas, which for many artists is the way they traditionally use a sketchbook. It is a process I can relate to but am aware that in drawing terms I do not do as much drawing as I would like. My painting has become my drawing.
Rachel Whiteread above and to the right
Angela Kingston is an independent curator and writer who set up The Centre for Drawing in 2000, where she coordinated a series of residencies and publications. She will present her thoughts on the context for the Centre for Drawing arose out of surge of drawing activity in the 70’s and 80’s that took a marginal activity and placed it more centrally. angelakingston.co.uk
Rachel Whiteread is undoubtedly one of the UK’s most important artists with a global impact. Turner Prize winner in 1993, though primarily a sculptor, her drawing practice remains the diary of her thinking, and has been the subject of publications and exhibitions at the Tate and internationally, in their own right.
Mary Doyle is co founder and Co Director of Drawing Room, the only public non-profit exhibition space dedicated to promoting and exploring contemporary international drawing within the UK and Europe. She will discuss the activities and agenda of Drawing Room.
Hillary Mushkin is an artist based in California. She will be discussing her project Incendiary Traces, an ongoing investigation of the role of landscape imagery in international conflict through on-site public “draw-in” events, research and publication of related materials with diverse contributors.
Tim Knowles is a UK artist with a post studio practice that engages with an experimental approach to drawing in response to elemental factors. His drawing are made through journeys; organising collective walks directed by winds; or by attaching drawing implements to the tips of tree branches.
Chair: Tania Kovats. Kovats work is primarily sculptural, working both nationally and internationally, with many commissions in the public realm. Kovats has previous published her reflections on drawing in ‘The Drawing Book: Drawing as the Primary means of expression’, and ‘Drawing Water: Drawing as a mechanism of Exploration’. Kovats is Course Leader of the MA Drawing course at UAL London.
Tim Knowles practice was immersive and definitely the most inventive and creative way of thinking I have seen for a while. In particular Tim's tree drawings were like a mixture of science, nature and alchemy. The wind dictates the way the branches move.
The results are both beautiful and totally spontaneous unrehearsed. I feel that this unrehearsed draws a parallel to my practice with the way I allow for moments to occur naturally.
Tim Knowles below and to the left