INTERNATIONAL 'DRAWING' EVENT FOR ARTISTS

Issue date: 29 June 2004


ISSUE DATE: 29/06/04

Artists from around the world will attend a three day drawing event in the Faculty of Art Media and Design (AMD) from 13 – 16 July at the University of the West of England.

The Advanced Centre in Drawing at AMD will offer a ‘practice-based’ four day symposium at Bower Ashton Campus. Each artist taking part has elected him or herself to a ‘drawing quarter’ led by an international artist with a particular drawing philosophy. The artists are: Caroline Broadhead, Grenville Davey, Paul Gough (Dean of AMD) and Humphrey Ocean.

Each quarter will work together in a studio environment over a three-day period on specially designed projects. This will allow each participant to interrogate not only the nature of his or her practice and its relationship to drawing, but also to engage in some of the current debates within the sector’s growing drawing community. An informal studio seminar will be convened towards the end of each working day where a number of invited practitioners and theorists will contribute to the process. This will be followed each evening by lectures from Deanna Petherbridge (UWE Arnolfini Research Professor in Drawing), Tania Kovats (Henry Moore Drawing Fellow) and Anne-Marie Creamer (Evelyn Williams Drawing Fellow).

On the final day of the symposium, the Drawing Quarters will come together in an open studio exhibition at Bower Ashton. The event concludes with a symposium summary by Deanna Petherbridge and the event will be marked by a publication.

Amanda Wood, Associate Dean of the Faculty of Art, Media and Design, who organized the symposium says, “In recent years there has been a reconsideration of the role of drawing in the art school - a re-evaluation that is reflected in the support shown for this event. Once considered a cornerstone for the design and delivery of art and design programmes in the UK, the role of drawing within the art schools became less certain during the 1980s and early 1990s. Increased pressure to teach new technologies and a growing emphasis on professional practice and work experience both impacted on the ‘space’ left for specific consideration of drawing especially in some applied design courses. More recently the development of discrete ‘drawing’ awards offered at both undergraduate and postgraduate levels across the UK reflects this growing pre-occupation with the discipline in a broad range of applications and pedagogical configurations. The Advanced Centre in Drawing is a leading centre for the practice and study of drawing and has a key role to play in developments in this field.”

-ENDS-


Editor’s notes

• For further information on the Drawing Quarters symposium or the Advanced Centre in Drawing contact Angela Cooper on 0117 328 4845.

Profiles of the four artists leading the Drawing Quarters:

Caroline Broadhead’s work has developed from objects worn on the body, to objects that represent the body and to work that emphasises space around the body. Often working with light and shade, the pieces have both 2D and 3D elements. She has exhibited worldwide, has work in many public collections and, in 1997, her work won the Jerwood Prize for Applied Arts: Textiles.

Grenville Davey has developed and sustained his creative works by exhibiting regularly in the UK. In 1992 he was awarded the annual Turner Prize at the Tate Gallery for the continuing development of his sculpture as seen in shows held in Bern and Dusseldorf. He uses drawing to explore the nature of pure form, while also inhabiting the realm of the domestic and industrial. His objects, seemingly out of context, reveal his interest in how we perceive reality.

Paul Gough studied Fine Art at Wolverhampton Polytechnic and the Royal College of Art, London. His large scale drawings explore narratives of conflict and commemoration, and his work is represented in the Imperial War Museum, London and the National War Museum in Ottawa, Canada. His PhD examined the impact of total war on the landscapes of the Western Front, and the emergence of a visual language that could convey emptiness, absence and compelling narrative.

Humphrey Ocean had a major one-man exhibition How’s My Driving? at Dulwich Picture Gallery London in the summer of 2003. He is currently making etchings with the printer Maurice Payne at Miankoma Press, Amagansett, Long Island and is about to work for the third time with filmmaker Johan Tchalenko.

Back to top