JERWOOD DRAWING PRIZE 2015 Published to accompany Jerwood Drawing Prize Jerwood Visual Arts 2015 exhibition 171 Union Street SE1 0LN Copyright © Jerwood Drawing Prize & Jerwood Charitable Foundation. Published to accompany the All or part of this publication may not be reproduced, stored in retrieval systems or Jerwood Drawing Prize 2014 transmitted in any form or by any means, whether electronic or mechanical, & touring exhibition. including photocopying, recording or otherwise, without the prior permission in writing of the publisher. Copyright © Jerwood Drawing Prize & Jerwood Charitable Foundation. Catalogue Editors: Anita Taylor and Parker Harris All or part of this publication may not be reproduced, stored in retrieval systems Photography: Benjamin Cosmo Westoby; photograph p34, Peter Stone or transmitted in any form or by any means, whether electronic or mechanical, Designed by: Matthew Stroud including photocopying, recording or otherwise, without the prior permission in Printed by: Jigsaw writing of the publisher. ISBN 978-1-908331-17-5 Catalogue Publication Editors: Anita Taylor and Parker Harris Photography: Benjamin Cosmo Westoby Designed by: Matthew Stroud and Parker Harris Printed by: Swallowtail ISBN 978-1-908331-17-5 CONTENTS

4 Jerwood Drawing Prize 2015 exhibition & tour

5 Foreword, Shonagh Manson

6 Introduction, Professor Anita Taylor

8 The Selection Panel

9 Selection Panel Perspectives: Dexter Dalwood Salima Hashmi John-Paul Stonard

12 Catalogue of Works

70 Artists’ Biographies

80 About Jerwood Drawing Prize 2015 Award winners and selectors 1994 – 2014

84 Acknowledgements 4

JERWOOD DRAWING PRIZE 2015 EXHIBITION AND TOUR

16 September – 25 October 2015 Jerwood Space 171 Union Street London SE1 0LN jerwoodvisualarts.org

21 November – 31 January 2016 Cheltenham Art Gallery and Museum: The Wilson Clarence Street Cheltenham Gloucestershire GL50 3JT cheltenhammuseum.org.uk

11 February – 9 April 2016 Sidney Cooper Gallery Canterbury Christ Church University St Peter’s Street Canterbury Kent CT1 2BQ canterbury.ac.uk/Sidney-Cooper

23 April – 25 June 2016 Falmouth Art Gallery Municipal Buildings The Moor Falmouth Cornwall TR11 2RT falmouthartgallery.com 5

FOREWORD

Last year, Jerwood Drawing Prize celebrated its 20th annual exhibition; 20 important years as a clarion call for the support and development of drawing in the contemporary landscape of art and culture.

This year, we are also proud to mark the 15th year of Jerwood Charitable Foundation’s support for the project. As an organisation which is still a teenager itself, we have been supporting Jerwood Drawing Prize for nearly as long as we have been constituted. It remains a singular experience from year to year, as new selectors take up the challenge of circumnavigating their own definitions of drawing, as new artists submit their works to the changing conversation. It is this renewed sense of dialogue, year on year, and the continuation of the project’s advocacy for the importance of drawing as a practice and activity that reinforce our belief in the project.

The quality of the exhibition is again this year outstanding, and with its plethora and diversity of work it allows plentiful room for critical discussion about the nature and status of drawing. In this show we meet familiar friends and new faces; we see joy and geometry, reflections taken from reality and vistas lifted straight from the imagination. Lines, marks and images are made using different methods and materials, including with words in selector John- Paul Stonard’s poetic response to the experience of selection.

This is a project on a truly national scale, and each year this publication sets out to recognise and thank the many individuals and teams involved. On behalf of Jerwood Charitable Foundation, whose core purpose is to support and nurture artists and their work, I would like to congratulate all the 2015 exhibitors, and thank each and every artist who submitted their work. I would also express the heartfelt thanks of our Trustees to all who have made it possible, particularly to co-founders of Jerwood Drawing Prize Professor Anita Taylor and Paul Thomas, our own gallery team at Jerwood Visual Arts, project managers Parker Harris and the important touring venues for the exhibition.

Shonagh Manson Director, Jerwood Charitable Foundation August 2015 6

INTRODUCTION

The annual Jerwood Drawing Prize exhibition continues to provide a forum to test, evaluate and disseminate current drawing practice. The exhibition aims to promote and reward excellence in contemporary drawing through the support and recognition of the work of established and emerging artists working in the field of drawing and who reside in the UK. This annual open submission exhibition enables us to gain knowledge and understanding about current drawing practice and about those working within the discipline in the UK.

Drawings are considered for inclusion in the exhibition by a panel of three selectors who represent the perspectives of practitioner, curator and writer, with expertise in the field of drawing. Each year the selection panel changes. The resultant annual exhibitions reflect the differing priorities and focus for each panel, which emerge in response to the work presented for their consideration. The selectors act as independent arbiters of the works submitted, and are tasked to identify and choose drawings that represent their combined interests and values in drawing. The panel select the works for the exhibition first, and then collectively choose the drawings that will receive the awards. The selection process and the outcomes then act as a catalyst to stimulating debate about drawing, through drawing, all set within this framework.

Our distinguished panel members in 2015 were artist and professor, Dexter Dalwood; artist, curator, educator and writer, Salima Hashmi; and art historian, John-Paul Stonard. We are immensely grateful to them for their remarkable energy, stamina and rigorous approach to the selection of the exhibition. Their further contributions to this publication reflect on their responses to this intensive and demanding process from their individual perspectives.

Works were submitted throughout the country via ten collection centres, which in 2015 were located in Bath, Belfast, Cardiff, Cheltenham, Edinburgh, Leeds, London, Newcastle-upon-Tyne, Norwich and Plymouth. The quality and scope of the overall 2015 submission demonstrated the attention to the role of drawing within the practice of both established and emerging artists, designers and makers. The 2015 selection panel saw each of the 3072 works submitted by 1592 entrants over two days in the studios at Wimbledon College of Art in July in London. Of these submissions 515 were by 264 applicants qualifying as students. As a result of this highly intensive selection process, 60 drawings by 58 artists were selected, including 6 student works from across the UK for the 2015 exhibition.

This exhibition marks 15 years of generous support from Jerwood Charitable Foundation for Jerwood Drawing Prize. This sustained support is truly remarkable and has enabled the project to develop and mature in the wider context of Jerwood Visual Arts under the successive leaderships of Roanne Dods and Shonagh Manson, the Director; Tim Eyles, the Chairman; and the Trustees. To work with Jerwood Charitable Foundation, and the wider Jerwood ‘family’ of organisations, with their inspirational vision, leadership and investment in supporting creativity, culture and the arts in the UK is an enormous privilege and honour. 7

The Jerwood Drawing Prize project is enabled by an extensive group of individuals, and thanks are due to everyone who contributes to the origination of this project. This includes the collection centres and their staff; the students of Bath School of Art and Design and Wimbledon College of Art, University of the Arts London who work as handlers and administrators; Parker Harris who manage the administration of the project; Marc Thomas, chief technician; the Jerwood Space and Jerwood Visual Arts teams; the tour venue partners; those who work on the transportation, handling, website, design and print; Paul Thomas, co-founder and selection coordinator; Bath Spa University who support my involvement as director of the project; and our distinguished selection panel. Our most important thanks go to each individual who submitted works for consideration within the context of an open submission exhibition.

Congratulations to everyone with a drawing included in this exhibition – and especially to the award winners of Jerwood Drawing Prize 2015.

Professor Anita Taylor Director, Jerwood Drawing Prize project Dean of Bath School of Art & Design at Bath Spa University Adjunct Professor, University of Sydney affiliated to Sydney College of the Arts August 2015 8

SELECTION PANEL

L-R: Salima Hashmi, Dexter Dalwood and John-Paul Stonard

Dexter Dalwood Artist

Salima Hashmi Artist, Curator & Writer

John-Paul Stonard Art Historian 9

SELECTION PANEL PERSPECTIVES

Jerwood Drawing Prize 2015

If I was to select a drawing show, I wanted to look for drawings that had energy and a sense of application – whether they were working drawings or drawings which have a singularity in purpose, an actual work on paper, or a work that develops the idea of drawing as an activity in itself.

It is quite rare these days to find observational drawings in pencil or charcoal in a secondary school art department. I do not think that drawing should be a reactionary activity but, frankly, if you are not given the opportunity to sit and draw what is in front of you between the ages of 11 and 15 it’s unlikely you will have the confidence to try again later. Drawing – as an intellectual activity which extends visual thinking – has been downgraded in secondary school education – and been replaced with a more user- friendly activity where personal expressionism is paramount. As a result, drawing as an observational skill is less a function of art in schools these days.

While I was a first year painting student at St Martins in the early 1980’s students were asked to go to the , choose a painting, make drawings from it and return to the studio to produce a painted version. I wasn’t particularly proud of my clumsy version of El Greco’s Christ Throwing Out The Money Lenders but the experience of being required to draw from an existing painting was a revelation – years later I was able to make a connection between the strangely constructed interior of the El Greco and analytical Cubist paintings which only revealed themselves through the act of drawing it.

An important condition of drawing is that it doesn’t always have a specific intention, it is explorative, it can bear the evidence of correction and exploration of ideas and yet remained unformed. I would have liked to have seen more such rough drawings – I think Francis Crick’s sketch of what DNA might look like is one of the most beautiful drawings made in the 20th century.

As the judging progressed over two days, interesting trends which emerged: 1. Repetition as a drawing activity – obsessive small mark making, filling huge sheets of paper or tiny circles to make up an image. 2. Drawings of trees – glades, forests, either photo-rendered or expressive and fantastical. 3. Countless drawings of birds – more popular than any other creature. 4. Big drawings – a surprising number of works were on rolls of paper – it’s interesting to consider this trend, in view of how few large contemporary drawings I have ever liked. 5. Photo-realist drawings with varying degrees of detail. 6. Drawing projects with an internal logic of their own, sometimes with copious notes attached.

In fact, most of the works in the final cut didn’t fit into the categories above. The majority of the works we selected were on paper but there are also two excellent video works that seriously consider drawing as an activity.

Dexter Dalwood Artist August 2015 10

Jerwood Jury Experience The mere recollection of the jury experience of the Jerwood Drawing Prize is daunting. Did we really evaluate 3000 drawings in 48 hours? Did we do justice to the diverse visual feast presented? Were our responses appropriate? How heavily did we rely upon intuitive ‘readings’? Coming from a vastly different part of the world, I was concerned about the relevance of my rather chequered history of teaching and evaluating drawings. After all, one had lived through times when life drawing was fraught with problems under a stifling military dictatorship, and had to be defended through devious ploys. I regaled my colleagues on the Jerwood jury with one such anecdote. Vigilantes of a religious student group burst into my teaching studio, and strutted around glowering at the hapless male model in loincloth being studied by the students. I had to convince them I was a very reluctant instructor, simply complying with the ‘Government sanctioned syllabus’. There ensued a brief but serious discussion on how best to Islamicise life drawing. Various useful suggestions were presented. One proposal was for a portrait of King Faisal of Saudi Arabia, which was summarily discarded because the King happened to be dead. The chat finally concluded on an amiable note after we agreed that the matter needed to be taken up by the Medical College next door, who could advise us on how to teach ‘Islamic Anatomy’. The vigilantes left, happy at having settled the matter of morality and life drawing in my studio. Looking forward to pondering such questions at the Jerwood jury meeting, I was surprised at the noticeable absence of the nude as a subject. In general, the figurative was less favoured among the drawings than the built environment or the proverbial English landscape. Had the unclothed human body become too overburdened with the connotations of art history, or the feminist critique? There was greater evidence of a delight in materials and fertile mark-making. One also sensed a withdrawal from the narrative as a reason for drawing, except for some memorable works selected for exhibition. The simplicity of spatial organisation of shape, value and space set some of the works apart in terms of pure visual economy. One is occasionally intrigued by an image and the way it is rendered. It refuses to give up its meaning or its intention, lingering with the viewer to a point that one is compelled to test it by presenting it to a wider audience. Some of the drawings selected for exhibition were mysterious, beguiling, haunting. One hopes the conversations and criticisms they instigate will make it a worthwhile experience for the audiences they encounter.

Salima Hashmi Artist, Curator & Writer August 2015 11

Lines I am the shadow of a wing-tip Drawn, rising, across a screen; A blue slow-moving contour, Bloodline of a king and queen. I am a sketch of summer gardens, The barest note of bygone days; Or the curlicues of custard creams, Biscuitfully arranged. I am a continental drift of swifts, A snaking line of beating hearts; A shivering square of static wings as Swallows wheel and swerve the air; I am the feathered vision of A maiden’s flight along the Thames; And a dark oxblood silhouette, With shadow half-submerged: I am knowledge of things. A Skeleton, the bones of vision, I am function, underlying form, A circuit of stairways in space; I am a dedication carved in Marble: true love, true friends. Or an epitome of greyness Scratched and rubbed, to no end.

John-Paul Stonard Art Historian August 2015 12 ELISA ALALUUSUA

Unconditional Line, 2015 Video, duration: 7mins (still illustrated)

This video drawing explores a line across the skies and recreates it on a screen. As the piece takes off we move with it on a journey. The lines on the ground speak their own foreign language of order and safety that should not be compromised. The video is a reminder of the experiences of our own journeys, and the viewer completes the image though his or her memories. This particular trip belongs to a continuum of invisible lines drawn between London and Luusua in Finnish Lapland. Score improvised on the cello by Vera Leppanen. 13 IAN ANDREWS

The diagram and the depiction, 2015 Ink on tissue paper, loose-leaf book, 53 x 78cm

One of a series of 14 hand-drawn books entitled The Circulation of the Sign developed from a range of sources including…

A diagram made to reconstruct the “Babelling” collaboration at the Sluice Art Fair.

The Picasso Papers by Rosalind E Krauss, in which she explores the dislocation between the sign and what it depicts and the continually flexible and provisional relationship that exists between them.

My continuing interest in how the mind builds, stores and loses memory. Inspired by my epileptic seizures and my mother’s struggle with dementia. 14 ROBERT BATTAMS

Space for redevelopment, 2015 Handcut paper, 110 x 155cm

I respond to issues surrounding the relationship of technology, art and society and our place within a constructed virtual and physical environment. I try to question our relationship to the undefined, ambiguous and dehumanising space that we inhabit, asking what we consider to be real and the conditions that create this reality. Space for redevelopment is a sprawling rhizomatic structure. It is a transitional section of a larger, unpredictable landscape, devoid of presence, scale or location, referring to both physical and virtual topographies and structures. 15 FRANCES AVIVA BLANE

Friend Susie, 2015 Pencil and graphite, 57 x 46cm

Friend Susie is the first of a group of observed drawings made with pencil and graphite. I usually work with charcoal and my subject matter is abstract, so it was a change seeing the cutting line and silvery sheen of pencil rather than smudge of charcoal. More like a razor blade. A sharp edge to tone and define. It was refreshing to focus on someone I was watching, rather than looking inwards. I was reminded of my late life-drawing tutor, Tom Norris, at The Slade saying ‘Don’t draw what you think, draw what you see’. 16 HANNAH BLIGHT-ANDERSON

One minute, 2015 Clear perspex and steel plinth, 152 x 28 x 24cm

Can you ever truly see your self? When you look at your reflection, what do you see? What is essential to our being?

Art is in the seeing… Our vision is constantly active, reacting to the present surroundings, informing each moment of our lives. We are not static or fixed forms but in constant transit, alongside the world we live in. I am tussling with the components that impact and inform a person, as I endeavour to visually offer the viewer an experience with the phenomenon of being human. 17 PIA BRAMLEY

Carmen in the Grass, 2015 Ink on paper, 22 x 27cm

Burst into a Juicy Fluff, 2015 Ink on paper, 17 x 22cm

Butter Point, 2015 Ink on paper, 17 x 22cm

These blue ink drawings were made using pens, brushes, memory and imagination. From the many small drawings made during this summer these three seemed to share an affinity, though they are not intended as a series. Each drawing seems to be a small part of a bigger thing. 18 PETE BURKE

Hackney to Bishopsgate, 2015 Pencil, cardboard and tape on paper, 46 x 36cm

The drawings I’m working on at the moment are a physical realisation of a perception of London held within my memory, embedded through layers of experience and familiarity. They incorporate materials, which convey a sense of their own history whilst relating to my day job as an art courier, and the repeated navigations that work entails.

They also act as threads connecting the locations of photographs I have been taking since 2009 of brownfield building site peepholes. 19 JOHN CLOSE

Dalston: Battle of the Lapiths and Centaurs, 2015 Charcoal on paper, 155 x 125cm

My inspiration is the Parthenon Metopes at the , based on a Greek mythological conflict of cultures. This version is in Dalston, my place of birth in the London Borough of Hackney. The process of gentrification has put a new, affluent class amongst struggling local communities – perhaps varying forces have pushed this area of London into its own battle of tribes.

I wanted to use drawing to show fighting, as it is experienced in inner city life; the sporadic street violence and pathetic brawling where there is never any triumph of good over bad, no heroic valour, only desperate people trapped in an internecine cycle. 20 JULIE COCKBURN

The Mother Ship, 2015 Ink and embroidery on altered found photograph, 20 x 25cm

The Mother Ship is the latest in a series of altered found photographs where I question, play with, and respond to the original image. I am compelled to interrupt the picture plane, stitching, hole punching and making childlike marks onto the flat, photographic finish. I want to get under the skin of these pictures, both metaphorically and physically. The slick surface, however patinated, invites excavation and graffiti. Once I had completed this work, the glasshouse loomed larger, brighter and had more definition than before. It looked like it was about to take off and fly out of the garden; vandalised, fluorescent, modern and full of hope. 21 DANIEL CRAWSHAW

Moonshine, 2014 Nail on found object, 41 x 26cm

The idea for this drawing really came out of nowhere. A pan, hanging in my studio for years having survived numerous camping trips and inattentive fry-ups, presented itself as a surface for something else. It’s accumulated scuffs and scratches lured my eye into an imagined space.

I usually explore the concept of the ‘sublime’ through painting, asking how is it possible to capture feelings of awe and longing for remote landscapes. On reflection Moonshine is a direct, intimate attempt to connect the mundane material world with a distant, fleeting aspiration. 22 GERRY DAVIES

Murmuring Deep, 2015 Ink on paper, 60 x 60cm

Murmuring Deep began as notebook drawings made underground in a cave system in Yorkshire. I’m not a caver and rely on experienced guides to access extraordinary and little known environments. Drawing in the dark, with compromised vision, means employing other senses – particularly touch and temperature. In the studio the challenge is to find graphic equivalents for qualities not easily drawn – the weight of rock and deep time. The methodical process of making the drawing reflects the erosion of limestone (alkali) and its trillions of marine skeletons and the acidic water which continues to carve through it passages and chambers. 23 CINZIA DELNEVO

Morning Meditations or Yellow Ball Point Pen on Paper, 2014 Ball point pen on paper, 61 x 61cm

Morning Meditations or Yellow Ball Point Pen on Paper is part of a series of drawings in which the element of repetition is always present. Repetition is also used to relate to automatic writing or automatism. It is utilised extensively on the same drawing; tracing forms composed of minimal abstract units, mantra-like gestures to reach a point of deep dissociation from conscious thought. This process of unfolding is an investigation of drawing without a visual reference as opposed to working from a predetermined composition. 24 SAMMY DENT

King and Queen, 2014 Bitumen, whiting and oil bar on plywood, 122 x 82cm

Inspired by ’s King and Queen statue seen at Glen Kiln, this drawing came about after a long day in the studio, as a final last breath. Unconsciously drawn, on the found plywood I’d prepared, it was the result of an accumulation of looking, thinking and drawing but without much pre-meditation. The plywood is patinated, and leathery looking just as the statue is weathered in its resting place in the glen. 25 EMMA DOUGLAS

Cato Marble Graffiti, 2014/15 Marble, 70 x 90cm

My work is conceptual.

I have always been attracted to the graffiti you see carved into park benches, and I always fantasise about the lives of the people who put it there.

When my son, Cato, died suddenly at the age of twenty-one, we were building a kitchen for him. This piece of marble was cut out to make room for the stove.

The marks on the marble are part of his story, my graffiti about him. 26 BRYAN ECCLESHALL

After Joseph Beuys’ ‘Wirtschaftswerte’ (”Economic Values”), 2015 Pencil on paper, 128.5 x 128.5cm

I make drawings of art works by others. This was made after Wirtschaftswerte was shown at the Graves Art Gallery during Art Sheffield 2013. The multi-panel format allowed me to make it at home while half-watching favourite films, or listening to podcasts or the cricket.

I saw my first Joseph Beuys – Plight – installed at the Anthony d’Offay gallery in Dering Street in 1985. It had a profound effect on me but when I saw it again at the Centre Pompidou in 2011, I was disappointed that a perspex barrier had been added to keep the public at bay. 27 PENNIE ELFICK

Beam, 2015 Paint, graphite, ink, 190 x 20cm

This piece of found wood was the beginning of a dialogue, could the fragility and beauty of the decayed surface be preserved and be the recipient of drawn marks? My drawings are always about how mark making can convey an idea of place or feeling, working directly on to a found object was a new and liberating experience, the complexity of the decayed surface and its relationship to the flatness of the reverse side was paramount, using the fluidity of the ink as a drawing tool seemed to allow the contradictory nature of the surfaces to keep their independence and yet remain connected. 28 SUE

The Productivity of Absence (Hairnet), 2015 Pencil and pen, 44 x 54cm

Old age and dementia pre-occupy one half of my work, with particular reference to family members. One in three people in this country will suffer from some sort of dementia. This drawing is one of a series. My family history is closely linked with the Lancashire cotton industry and the ‘thread’ running through all the work, connects that productive Northern work ethic, a ‘make do and mend’ attitude, and the gradual unravelling of a mind and life. This hairnet is worn every night by my Mother, holding in her anxieties, while the connections unwind. 29 EXCHANGE + DRAW

Crank Call, 2015 Pencil, mixed media on digital print, 57 x 57cm

“Clov: What is there to keep me here? Hamm: The dialogue” Samuel Beckett, Endgame

Crank Call began as a digital print; uniting four drawings to harness the experiences/ideas from a surplus of unwanted calls.

Caller – receiver, speaker? Listener? Like ordinary conversation, drawing conversation transports one in an instant to another world through the dialectics of the encounter. The process sees the manoeuvres of exchange as impetus to stimulate possibilities that might both question and enhance the dynamics of any given drawing engagement.

Exchange + Draw are Richard Lloyd and Alan Parsons 30 MARK FARHALL

Naturally Slow Buildings (127), 2015 Coloured pen and pencil on paper, 25 x 19cm

I’m very interested in using processes of working that detach me from a conscious action, that allow randomness and mistakes, so that I can produce indirectly what is too obscured to express directly. What grows visually is a record of these individual random convoluted thoughts, ideas, interpretations and how they might be connected. I use various (elaborate and obsessive) techniques when constructing these drawings, juxtapositioning assemblage, pattern making, mirroring, and playing with illusions of three-dimensional surfaces. The processes create improvised drawings that are simultaneously, energetic, harmonious, complex, and naive. 31 CRAIG FISHER

Explosion Banner, 2015 Cotton fabric, wool and thread, 145 x 145cm

I collect and employ images of violence and its aftermath from film, TV and the media as source material for the production of works such as Explosion Banner. Considering the potency of such representations and their potential to be subverted, images of explosion clouds become simplified cartoon motifs, exploring the decorative through my use of patterned fabrics. Craft techniques specifically associated with textiles and the seductive nature and materiality of the artwork comments on our seduction and desensitization of violent images. 32 NINA MAE FOWLER

Small II, 2014 Pencil on paper, cardborundum, wood, 12 x 25 x 5cm

This freestanding work depicts fourteen year-old Cheryl Crane on the night she killed her mother’s lover. She was subjected to overwhelming media attention, her mother being the actress Lana Turner. The piece, which appears as an ornamental accessory, comprises two drawings. On one side, under the unforgiving glare of flash photography, police question Cheryl. On the other, we see only the back of a head as she is whisked by. The frame – covered in carborundum, typically used for abrasive semi-industrial purposes – is here a metaphor for endurance and conversely something of delicate beauty when spot lit. 33 THOMAS GOSEBRUCH

Untitled 2, 2015 Oil paint on paper, 46.5 x 75.5cm

Notes from the underground. 34 TOM HARRISON

From Andrew’s Flat, Singapore, 2015 Pencil, 50 x 40cm

During a recent trip to Singapore I was highly stimulated by the lush green jungle offset against the lines of the architecture. My initial pull for the drawing was seeing all of this from an elevated position; an abstract pattern of the buildings jostling for space with the jungle becoming even more apparent.

Finding it hard to select a starting point, I just looked. After ten minutes some movement on a balcony to the right alerted me to an interesting combination of pattern, abstract shapes and geometry, which then became my overarching idea. 35 ROLAND HICKS

The This And The That, 2015 Pencil, coloured pencil, gouache, PVA on gesso panel, 25 x 20cm

My drawing The This And The That recreates the scattered remains from the bottom of a tipped out pencil case, preserved under a strip of sellotape.

I could try and claim some affinity here with 17th century Dutch trompe l’oeil painting, also with Arte Povera and Minimalism. Or, maybe I could mention Post-Duchampian re- made readymades (and it seems I now have done). But perhaps it’s more important to say it is a small, quiet thing, slightly amplified. 36 WILLIAM HUGHES

open (one liner), 2015 Graphite on paper, 29 x 21cm

This piece, open (one liner) is taken from an on-going series in which images are appropriated from a variety of sources and rendered against a grey background. Through this consistent method of production each image becomes dislocated from original context, the absence of which is heightened due to the sparse treatment of the subject. Whilst some are chosen arbitrarily and more for their ambiguous potentiality or tendency towards the enigmatic, most are biographical at their core. However in each case, the initial impetus driving the creation of the work dissipates, remaining only as a residual force, if at all. 37 JULIA HUTTON

Burning Light IV, The Passing Day, 2014 Burnt line drawing on paper, 52 x 49cm

This drawing is one from an on-going series that started as a direct response to observing the pathway of sunlight through my studio window. Making visible the invisible is ever present in my work.

The intimacy and directness of the burnt line acts as a physical record of my observation and experience of the passing of ‘burning light’.

The drawing process evolved alongside research into our changing climate and analysing burnt record cards from the Met Office, used to calculate hours of sunshine.

Drawing is a central daily practice, forming a bridge to print, photography, painting and bookmaking. 38 MEHR JAVED

Shell I, 2014 Perforated paper, 118.5 x 140.5cm

Shell I references a Rorschach-like abstract symmetrical pattern. The paper surface is meticulously perforated by hand to create meandering, intersecting lines and broken flat planes. This process allows the paper to take on a porous, skin-like characteristic, enhancing its associative and tactile qualities. As a result, the viewing experience is immersive, meditative and sensual. In an intimate viewing such as this, eyes begin to act as organs of touch. 39 BEN JOHNSON

Alhambra Study (Hall of Two Sisters) Pencil, Rotring ink and ballpoint, 105 x 65cm

In the last few years I have moved away from the traditional drawing board to the use of a computer and technical drawing and CAD programs. I have also spent the last 3 years experimenting on how to output the digital drawing as a more tactile object using conventional materials. A typical preliminary drawing for any painting is now taking approximately 9-12 months and the piece selected is a partial study from a 2-year project. 40 ALI KAYLEY

Buen Vencejo, 2015 Charcoal and graphite on paper, 93 x 126cm

When I was living in Los Angeles, migrating swifts would come swooping through the city each autumn, echoing the Pacific coastline as they made their way home to Mexico. These swifts live, eat and couple in the air, barely ceasing their journey until they arrive home, spent. I had been making a piece of work about the routes taken by Mexican migrant labourers, and the parallels between the birds, tiny specks in the sky, and the people on the ground, themselves tiny specks, led to this work, Buen Vencejo – Fair Swift. 41 NIGEL KINGSBURY

Untitled, 2014 Pencil on paper, 110 x 90cm

Nigel’s main inspiration is the female form; he draws occasionally from life often from memory. This is one of Nigel’s memory drawings. Nigel frequently draws the figure naked first, then adding clothes and folds of fabric with layers of finely sketched lines. This is a unique piece where the figure remains nude. 42 LOIS LANGMEAD

Pelvis, 2015 8 spools of thread, 40 x 60cm

Pelvis is a contemporary reaction to the depiction of women’s bodies as ‘weak’ throughout historical medical texts. Despite medical texts being more accurate now, the attitudes surrounding women’s physical abilities remains. The pelvis is a symbol to remind us of the strength of women’s bodies.

The process of layering stitching took many days of women’s work; framed, the piece appears is a curious medical specimen that explores parallels between medical nursing and women sewing and repairing. Pelvis explores and questions the archaic representation of women; presenting tension between feminine and private pastimes and the darker, political problems present today. 43 GARY LAWRENCE

Santorini Polaroid, 2015 Biro on printing photo type paper, 198 x 213cm

I was given a large roll of shiny photo-like paper, which I put aside to use later. Meanwhile, on holiday on a boat in Greece, I saw someone use a Polaroid Instamatic camera (I thought they were not around anymore). This person’s instant photo was slipped out of his hand by the breeze and it landed by my feet. I noticed the wide white border and shiny surface of the Polaroid photo.

This Greek polaroid memory gave me the reason to then use my large roll of paper, to make a large polaroid photo type of drawing (with shiny surface and wide border) using my Greek holiday and travel magazine imagery as subject and inspiration. 44 JULIETTE LOSQ

Nexus, 2014 Ink and watercolour on paper, 150 x 131.2cm

I depict liminal landscapes hovering at the edges of a symbolic clearing, where wilderness and chaos oppose civilization and order. I allude to the English ‘Gothic’ of the eighteenth and nineteenth centuries, typified by fragmented narratives relating mysterious incidents, and scenes charged with a real or imagined menace. Working over the surface repetitively, I create multiple layers, which simultaneously obscure and reveal those beneath, incorporating imagery derived from various sources including Victorian newspaper illustrations and horror films. In this series of works rococo imagery infiltrates the landscape, so that the eye hovers between stylised natural forms and realistically rendered ones, and is confronted both by the excess of nature and the excesses of these forms. 45 GRACE MCMURRAY

Cutcomb Polaroid, 2015 Coloured pencil on graph paper and pins, 61.5 x 51.5cm

I created a geometric digital pattern based on a hive, referencing a personal utopia. 46 WILLIAM MACKRELL

Back of Agnese’s Head, 2015 Drawing on digital print, 130 x 100cm

Back of Agnese’s Head presents an ant’s size view of being in the back of someone’s hair. This work is from an on-going series of portraits of the top, back and sides of people’s heads. The interest lies in documenting this part of the body that cannot be seen directly by the Self. The work begins as a photographic image, shot close up and larger than life, after which I take a needle and scratch out each individual hair. The act of cutting into hair pays attention to hair’s fragile and shifting nature, a part of us that can be quickly lost. 47 SEAN MALTBY

Cleaning Up, 2014 Video, duration 1min 6sec (still illustrated)

The video piece Cleaning Up was made during a six-month artists residency at the Verein in Akku Künstler Atelier Uster in Switzerland. Like many of my video works it is a direct and visceral response to the place, objects and materials at hand. It turned out, like many of my videos to be a piece of drawing work. As a single line was raked across three types of terrain it simultaneously dredged up a number of art historical references. 48 ANOUK MERCIER

Route des Lindarets – Une Cascade, 2015 Graphite on paper, 60 x 50cm

Route des Lindarets – Une Cascade is a detailed graphite drawing informed by the artist’s extensive collection of early postcards and photographs of classic Alpine scenes. Presenting an elusive beauty spot and waterfall, this work is from an on-going series exploring traditional, idealised representations of Nature, as celebrated by late 19th/ early 20th century tourists and audiences.

Influenced by Romanticism and the Sublime, the melancholic scene echoes a timeless yearning for escapism through the portrayal of a beautiful ideal, whilst also teasing out and questioning the mysterious, the abysmal and the uncanny that often lurk behind idylls. 49 MARY MILLNER

View from Modern, 2015 Pencil and coloured pencil on paper, 34.4 x 34.2cm

A drawing of a dream. 50 JOONHONG MIN

City Methodologies, 2014 Ball point pen on paper, 21 x 29.7cm

Ink pen set free on a piece of paper, I have had a habit of drawing non-existing space since I was a child. Images of a city expressed onto a flat surface created illusion, a virtual space and the objects within that satisfied both the visual and tactile senses.

The origin of this contentment came from having accomplished representing such construction that absorbed my reverence on a relatively small picture building occupying our city do not merely serve as residential or commercial purpose but a gigantic space made by ourselves worthy of praise. 51 PAUL PEDEN

Drawing 309, 2015 Sumi ink, marker pen and pencil, 30 x 21cm

This drawing forms part of an on-going series of works on paper, each one explores a simple structure as a basis for pictorial invention. The work is built using deliberately basic components and follows a particular compositional impulse. Whilst enjoying the straightforward nature of their manufacture, the evolutionary process allows for and often actively encourages improvisation.

I relish emergent complexities and the potential to discover and create unforeseen forms and readings through such modest and immediate means. 52 LEE JOHN PHILLIPS

The Shed Project: Volume 1, 2014-15 Ink in sketchbook, 29.7 x 21cm

I am in the process of creating an illustrated inventory of the entire contents of my late grandfather’s tool shed. I will draw and number every single item, including all multiples, and reference them in a catalogue upon completion.

As well as an exercise of discipline, the sketchbooks will exist as a record of my own cultural and industrial heritage, reflecting on a social ethos I feel is being sadly eroded. To date I have illustrated over 4,000 items – I estimate the total content to be over 80,000. 53 RUTH PHILO

Darker Part of the Weather I, 2014 Acrylic, gesso, graphite on linen, 25 x 30cm

This is one of a series of pieces concerning weather, both physically and emotionally. A sensate experience conveyed through elements of abstraction – colour, surface and mark, using paint, gesso and graphite. Erasing boundaries between painting and drawing, this draws on elements of uncertainty, time and place, the seen and the unconscious, condensed into an intimate canvas. 54 GIULIA RICCI

Order/Disruption no.71, 2014 Indian Ink brush pen on paper, 43 x 44cm

Order/Disruption no.71 is part of a series of drawings exploring disruptions within patterns composed of right-angled triangles. I started this series of works in 2010 and each piece is characterised by the fact that it can be seen from close up and from a distance, providing two diverse kinds of experiences with different tactile and spatial implications. 55 ANNETTE ROBINSON

Musical Box (1), 2015 Clay, emulsion and pencil, 48 x 45.5cm

Someone recently called me a private flamboyant. At the heart of all the work I make is a tension between quiet gesture and bold movement. This drawing sits amongst the quiet gestures whilst, being part of a body of work that reflects an on-going interest in the dynamics between the mechanical and the freely formed. 56 JENNY ROSS

The Code of Bones, 2014 Graphite on paper, 45.5 x 45cm

As a life model, I experience the setup from a unique perspective: from within, as a dynamic part of it. Being invited to draw whilst being drawn by others provided an opportunity to explore this. My writing often informs my work and my thoughts. When creating images, I examine aspects of the narratives that I create. 57 GABRIELA SCHUTZ

Blog, 2015 Acrylic and watercolour on paper, 91 x 75cm (detail illustrated)

I’m fascinated, and at times apprehensive, with the way technology, information, communication and consumerism are increasingly shaping our lives. In Blog I was working strictly from observation and on location, afterwards sharing each ‘post’ on Facebook to be ‘liked’. Thus I created a pictorial diary where not only the successful drawings remain – unlike social media where we try to project the most favourable images of ourselves. Engaging in the act of drawing seems more important than ever in these fast moving times which are dominated by an impatient continuum of information. 58 SARAH SEYMOUR

Impending: storm clouds, 2015 Charcoal, pastel, carborundum, 75 x 95cm

This piece has a figurative and an emotional source. The starting point is the Romney Marsh area and Dungeness, where I live, with its sometimes bleak but always inspirational dramatic skies. Through depicting the dark and ominous clouds I want to convey a personal response to a pervasive unease to situations outside my control. The textures are symbolic of the complexity of the turbulence and confusion I feel. 59 CALLY SHADBOLT

Press Mould, 2015 Graphite and varnish on card, 32 x 24cm

Press Mould is one of a series of moulds, which have been made for relief casting in plaster and for embossing paper.

The graphite pencil marks remain visible as part of the drawing and development prior to construction of the mould. The varnish is a practical measure against damp or other substances that may damage the card during the pressing process. Using a tinted glaze allows the amount being applied to vulnerable edges to be gauged.

The object depicted is imaginary. Its form continues to evolve over time. 60 SOHEILA SOKHANVARI

Two serious ladies, 2015 Egg tempera on calf vellum, 43 x 32cm

Two serious ladies is based on a 1953 photograph marking the presence of American expatriates in Iran, the year of the US assisted coup d’état in Iran. The work deals with ideas of fascism, concepts of “anaesthetized aesthetics” and “phantasmagoria” that aestheticizes society through art, architecture and political manoeuvres creating an illusory world without pain and producing an alienation of senses.

Subjects become cool detached observers who are pinned down like butterflies by their overburdening background symbolically criticizing the structures of society by dispassionately and uncompromisingly depicting every detail of the subjects and their surroundings, and by revealing the distance and emptiness between them. 61 CHARLOTTE STEEL

Poison Tree, 2014 Charcoal and chalk, 35 x 29cm

I am interested in how pictures, feelings and stories relate to one another.

Here the Poison Tree is destroying its own creator (unlike Blake’s poem, where his rival eats the poisoned fruit). The sentiment is, I think the same. 62 HANNA TEN DOORNKAAT

Me (self portrait) I, 2015 Pencil on tracing paper, 89 x 64cm

The drill drawings combine concept and experimental process. The ‘Me‘ self portraits are contemplative and the process of drawing on transparent paper feels like inscribing or tattooing life’s experience into skin. 63 JOHN THOLE

You CHEAT, 2015 Ink, graphite, envelope, bag, card, 31.8 x 48.6cm

In creating an image I treat the composition as a system – a body in which individual parts lend themselves to a much larger whole. Textures and forms are often reminiscent of the body, and are a way of making the interior the exterior, each part being connected. Figures, too, often operate in a similar way, becoming part of the compositional structure or of each other within a theatrical space. You CHEAT uses these elements and also highlights its own materials, their former functions and history of usage. 64 CAROLINE TRUSS

Family, 2015 Ink on board, 30.5 x 40cm

The drawing is my interaction with the subject. First my eye is drawn to an image, secondly an idea of empathy to the image, then my imagination responds to my idea. I am sharing what I feel the image is saying. When I look back at a drawing, I feel it can mean anything or is simply a drawing. 65 ALAN TURNBULL

Self Portrait as Anna Akhmatova, 2014 Graphite, 43 x 48cm

This picture was one of a number of works resulting from an archival study of translations of Akhmatova’s poems into English. During this time I became particularly interested in her Poem Without a Hero and the importance she placed on the mirror and on the observation of the self. 66 RONIS VARLAAM

Custard Creams, 2014 Conte, 50 x 48cm

Custard Creams is a drawing that perhaps belongs to a number of works I have made examining the phenomenon of pareidolia. There is also a song I have written to go with it:

“Give me a French kiss in the back seat of your car. Take my pants off and hang them from the aerial. But don’t forget to get the tea, the milk and the custard creams…” 67 ROSIE VOHRA

A Part of me, Apart from me, 2014 Charcoal on paper, 85 x 74cm

There is a welcome tension between drawing from my imagination and observation.

My Mind has nestled itself into what I am looking at, sitting next to my Sight reminding me that it is there. They both spend so much time together that they start to blur into one being.

A Part of me, Apart from me took place in a life drawing studio, after a full day of drawing from observation, my imagination leaked out on to the paper and the link between my mind and hand matted together. 68 ROY WILLINGHAM

Grid-Schema-Nebbia, 2015 Gouache, collage and silverpoint on board, 25 x 31cm

Grid-Schema-Nebbia is about place; the space, the flatness of the paper against the depth of perspective, ways of describing without perspective, combining different views together. It wants to be classical and modern at the same time. It is about the contrasting qualities of the materials; the delicacy of the silverpoint and the flatness of the gouache, the way they lie over and disappear under and even deceive by illusion. It is the balance of heavy shapes and soft lines, how to draw the eye around the rectangle and how to achieve a satisfying overall harmony – and still be a place. 69 MARTHA ZMPOUNOU

Performance Line, 2015 Watercolour and pencil on paper, 55 x 75cm

Performance Line belongs to a series of drawings depicting human figures caught amidst a performed act, an undefined thus ambiguous ritual. The drawing acts as a recording device of the ritual, which is a drawing in space itself. The architecture, a confined space, increases the awareness of the bodily moves and partly dictates the movement. The thread, a key element, is a line in space and embodies the problem and its very solution. It draws from the myth of Ariadne, where the thread becomes the path to an end. In a confining space, like a labyrinth, the thread-line becomes the progress, a metaphor for the very nature of the drawing process. 70

ARTISTS’ BIOGRAPHIES

ELISA ALALUUSUA (b. 1970 Rovaniemi, ROBERT BATTAMS (b. 1981 Perth, Finland) studied MA Art as Environment Western Australia) studied BA Fine Art at Manchester Metropolitan University at University of the Arts London (1994-95) and completed her second (2003-06). He was shortlisted for the MA at University of Lapland (1999). Royal Academy Summer Show (2015) and She is currently conducting part-time Jerwood Drawing Prize (2011). He has PhD research at University of the Arts produced work for Vanity Fair (2011) and London on Sketchbooks. Selected group his work Grid featured on the Jerwood shows include: POOL, CGP London Visual Arts programme of events (2012). (2015); The Fire Sermon with Dale Inglis, He lives and works in Sheffield. the blackShed Gallery, Robertsbridge (2014); Driven to Draw: Twentieth-Century Drawings and Sketchbooks from the FRANCES AVIVA BLANE (b. 1954, Royal Academy’s Collection at the Royal London, UK) studied at Chelsea Academy of Arts, London (2011/12). College of Art (1987), BA Selected solo shows include: Sketching School of Art (1988-91) and MFA Sketchbooks, Westminster School, UCL (1991- London (2014); 24h DRAWING IV – 22nd 93). Group Shows include: Drawing to 23rd Oct 2013, Horace Mann, New Breath, Jerwood Anniversary Exhibition, York (2013); 24h DRAWING II – 29th to London, Singapore, Sydney and touring 30th Nov 2012, Pullens Yards, London (2008/9); Annely Juda, A Celebration, (2012). She lives and works in London Annely Juda Fine Art, London (2007); but regularly visits the reindeer farm in Basil Beattie and Frances Aviva Blane Lapland where she grew up. – Drawing, ECart, London (2001). Solo Shows include: BIG BLACK PAINTINGS, Bay Hall, London (2014); Deconstruct, IAN ANDREWS (b. 1959 Tilbury, UK) exhibition running concurrently with studied MA Painting, Royal College of shows by Louise Bourgeois and Francis Art (1985). Collaborations: Babelling: Bacon, De Queeste Kunstkamers The Art of Rat Catching, ARTicle Gallery, Abele/Watou, Belgium (2014); Portrait Birmingham City University (2013); Painting, ShillamSmith3, London Babelling, Sluice Art Fair, London (2013); (2006). Awards include: Mid-America Coughing Fit, collaboration with Paul ART Alliance Fellowship for Visual Arts Newman, part of the exhibition Going (1998); Residency at Djerrassi Artists’ Postal, ITV Building Birmingham (2012). Foundation, California (1998); Jerwood Group exhibitions include: Game Over, Award for Drawing (1999). She lives and Newman Bros, Coffin Works, Birmingham, works in London. (2015); Jerwood Drawing Prize, London (2014). Solo exhibitions include: Rummage out, find by violence searching, HANNAH BLIGHT ANDERSON (b. 1992 Terrace Gallery, Birmingham (2012). Truro, UK) studied BA Fine Art at Bath Recent Events include: 15 Methods: 20 School of Art & Design, Bath Spa Questions, interview, publication and University (2012-15). Selected group presentation regarding the role of drawing exhibitions include: Free Range, The in Art Education (Group Presentation), Old Truman Brewery, London (2015); A London (2013) Q-Art/Higher Education Portrait of the Artist As, Elysium Gallery, Academy. He divides his time between Swansea (2014); Platform 14, The Engine Essex and the West Midlands. Shed, Bristol (2014). Solo exhibitions 71

include Who am I, Balcony Space, JOHN CLOSE (b. 1979 London, UK) studied Bath (2014). Recent prizes include: BA Fine Art at (1999– The Kenneth Armitage Foundation 2003). Selected group exhibitions include: Student Sculpture Prize (2015); Highly Tutors Exhibition, Hampstead School of Art, Commended, Beep International Painting London (2014, 2015); Paintformance, The Prize (2014); Highly commended, Victoria Place, London Contemporary Dance School Art Gallery, Bath Summer Show (2014). (2013); 400 Women, London, Edinburgh, She lives and works in Bath and Bristol. Amsterdam (2010-2012). In conjunction with Cubitt and St Luke’s Trust, he has been a community artist in residence in Islington, PIA BRAMLEY (b.1986) studied BA London since 2012. Illustration, University of Brighton (2007- 09) and Postgraduate Program at The (2014). Selected JULIE COCKBURN (b. 1966 London, exhibitions include: The Drawing Year, UK) studied Sculpture at Central Saint Royal Drawing School, London (2014); Martins College of Art and Design, Verso, Tea Building, London (2014); London (1993-96). Group shows include: ‘then, now, after…’ 150 years of art and FOUND, New Art Gallery, Walsall (2015); illustration, Brighton University (2013). Threads (Draadkracht), Museum of Editorial: The Sunday Times (2015); New Modern Art, Arnhem, NL (2014); Riff/Rift, York Times (2010-2014) and The Plant Baltic39, Newcastle (2013). Solo shows Journal (2013). Publishing: The Unicycle include: Waiting Room, Flowers East, Set, Nick Burbridge, Waterloo Press London (2014); Slight Exposure, Yossi (2010). Product: Anthropologie design Milo Gallery, New York (2013); Portraits for ceramics (2012); PUBLICATIONS: and Landscapes, Flowers Central, London Freehand, Helen Birch, Hardie Grant (2012). She lives and works in London. Books (2013); Varoom Magazine, Association of Illustrators (2012); Synonym Journal (2012). She is currently DANIEL CRAWSHAW (b.1967 a tutor for the Royal Drawing Clubs at Herefordshire, UK) studied BA Fine Art and visiting tutor for (Painting) at Leicester Polytechnic (1987- Art Foundation. She 90). Selected group exhibitions include: lives and works in London. Summer Shows, Martin Tinney Gallery, Cardiff/Oriel Tegfryn, Menai Bridge (2015); The National Eisteddfod of Wales, PETE BURKE (b. 1958 Padstow, UK) studied (2012, 2010, 2009, 2004 – Peoples BA Fine Art, Loughborough College of Art Choice Winner); Creekside Open, APT, and Design (1976-79). Selected exhibitions London (2011); Asylum Open, Asylum, include; National Open Art Competition, London (2011); The Salon Art Prize, Matt RCA, London (2013); Artists’ Eye, Hackney Roberts Arts, London (2010). Selected Museum, London (2012); Royal Academy solo exhibitions include: High Country Summer Exhibition, London (2012). Solo Gothic, The Western Plains Cultural exhibitions include: Glimpsing The Future: Centre, NSW, Australia (2014-2015); Connecting Communities, Dalston Eastern The Gippsland Art Gallery, Bayside Arts, Curve Garden, CLR James Library and The Melbourne, Australia; High Country Clapton Hart, London (as part of Photomonth Gothic, Oriel Myrddin Carmarthen, The 2015). Collections: Birmingham Museum Sidney Nolan Trust, Powys (2014); Resort, and Art Gallery; Hackney Archives. He lives The Guardian Hay Festival, Wales (2007); and works in London. Lost Mountains, Rebecca Hossack Gallery, London (2005). Residencies: Arts Council of Wales, Snowdonia National Park, Wales and Alpine National Park, Australia (2012); Artist in Residence at the Sidney Nolan Trust (2006). He lives and works in Wales and London. 72

GERRY DAVIES (b. 1957 Pontypool, Art Competition (2012). Solo shows Wales) studied BA Fine Art at include: Public Library, Port Washington, Wolverhampton Polytechnic (1977–80); NY (2003); Flowers, Statues and Bison, MA Painting at the , Dover St Gallery (2012); Billiard Room, London (1981-84). Selected groups Chelsea Arts Club, London (2013). exhibitions include: Paper, Table, Wall and After, curated by Sian Bowen and Chris Dorsett, Gallery North, University EMMA DOUGLAS (b. 1956 London) of Northumbria (2014); The Moment of studied MA , Royal College Privacy Has Passed, an exhibition of the of Art, London (1980-83), École des Arts sketchbooks of contemporary designers, Decoratifs, Paris (1979-80) and BA Fine architects and artists, Usher Gallery, Art, Middlesex Polytechnic (1976-79). Lincoln (2011); Contemporary Drawings, Selected exhibitions: Small is Beautiful, Recent Acquisitions, Leighton Room, Flowers Gallery, New York (2014); Jerwood Victoria & Albert Museum, London (2009). Drawing Prize (2013); Whitechapel Open, Solo exhibition: Jenolan Caves, was the Whitechapel Gallery, London (1989); outcome of a residency at The Study Printmakers at the Royal College of Art, Centre for Drawing at The National Art Barbican Art Gallery, London (1985); School, Sydney, Australia (2010). Awards: Hayward Annual, , London Artist in Residence at Durham Cathedral (1982). She was a Prizewinner at Mulhouse (1978-88) and a Fulbright scholar at Biennale, Alsace, France (1984). She lives Perdue University, Indiana, USA (1990-91). and works in London. He lives and works in Lancaster. BRYAN ECCLESHALL (b. 1965 Bishop’s CINZIA DELNEVO (b. 1982 San Secondo Castle, UK) studied BA Fine Art at Leicester Parmense, Italy) studied BA Fine Art Polytechnic (1985-88), MA Fine Art at Accademia di Belle Arti, Bologna, at Sheffield Hallam University (2008- Italy (2001-07) and MA in Planning and 10) where he is currently researching Production of Visual Arts, Faculty of a PhD. Selected group exhibitions: Arts and Design: IUAV – University of art:language:location, Cambridge; London Venice, Italy (2008-10). Selected groups (2013); Tegel: Flights of Fancy, Babylon exhibitions include: Disseminazione, Kino, Berlin (2012); M3-M6 Unterwegs, Casabianca, Zola Predosa, Italy (2015); touring Lancaster, Preston Berlin (2009). “Passato Prossimo” Art in the age of post- Solo exhibitions: 365drawings, Bank Street tradition, Rocca Estense, XXXII Roncaglia Arts, Sheffield (2014); and Baker’s Dozen, Biennal, San Felice sul Panaro, Italy NEO’s Gallery, Cockermouth (2007). He (2012); Here we are | Il luogo è sempre lives in Worksop and works in Sheffield. specifico, Contemporary Art Pavilion, Ferrara, Italy (2010). Solo exhibitions PENNIE ELFICK (b.1948 Carshalton, include: Legami Deboli (Weak Ties), UK) studied BA (Hons) Fine Art, London Amedeo Abello & Cinzia Delnevo, Galleria Guildhall University (1993-96) and MA Cinica, Palazzo Lucarini, Trevi, Italy Painting, Wimbledon School of Art (1999- (2013/2014); Dodici (Twelve), Esperienze 2000). Selected group exhibitions include: non lineari del tempo (Non linear The Open West, The Wilson, Cheltenham experiences of time), Museum House of (2014); Annual Open, RWA, Bristol Ludovico Ariosto, Ferrara, Italy (2011). (2014); The Still Point, Quercus Gallery, She lives and works in London. Bath (2015). Solo shows: Contemplative Spaces, Musgrove Gallery Taunton (2014); SAMMY DENT (b. Perth, Scotland. 1967) Pennie Elfick, Acanthus Gallery, Wareham studied BA (Hons) Fine Art, St Martins (2015). Residencies: Cill Rialaig, School of Art (1996-99), Art Students Ballinskelligs, Co Cork (2001); Brisons League, New York (1994). Group shows Veor Cape Cornwall, Cornwall (2013). She include: Summer Exhibition, Royal lives and works in Somerset. Academy, (2007, 2010); National Open 73

SUE ENGLAND (b. 1947 Lancashire, CRAIG FISHER (b. 1976 Johannesburg, UK) studied Diploma in Art and Design, South Africa) studied BA Fine Art at Manchester College of Art and Design Northumbria University (1996–99) and (1965-69), Art Teaching Diploma, Reading MA Fine Art at Goldsmiths College, University (1969-70). Group Exhibitions University of London (1999-2000). include: Sussex Artists, Pallant House Selected groups exhibitions include: Gallery, Chichester (2011/2012); Ruth Stand In, Small Collections Room, Borchard, Gallery, London Nottingham Contemporary, Nottingham (2013); Society of Women Artists, Mall (2015); Art Across The City 2014, LOCWS Galleries, London (2013). Solo Exhibitions International, National Waterfront include: Two Approaches, Studio, Pallant Museum, Swansea (2014); UNITEXT, House Gallery (2014); Here and There, 9th Kaunas Art Biennial, Kaunas, Oxmarket Arts Centre, Chichester (2011); Lithuania (2013). Solo exhibitions Nepal, Royal Geographic Society, London include: Homemade Devices, Beach (2015). Recent Awards/Commendations: Gallery, London (2013); Pretty Disastrous, Winner EAC Abstract Prize (2012); Highly James Freeman Gallery, London (2012); Commended and Second Prize Sussex Reckless Behaviour, TAP Temporary Arts Artists; Winner Stride Open, Abstract Prize Project, Southend-on-Sea (2011). Recent (2012). She lives and works in Chichester. prizes include: Nottingham Castle Open 2014 Purchase Prize, (2014). He lives and works in Nottingham. EXCHANGE + DRAW is the collaboration of Richard Lloyd and Alan Parsons. Richard Lloyd (b. 1960, Birmingham, UK) studied NINA MAE FOWLER (b. 1981 London, UK) BA (Hons) Fine Art, Bath Academy of Art studied BA Fine Art (Sculpture) at University (1980-83) and MA Painting, Chelsea School of Brighton (2000–03). Selected groups of Art (1983-84); Awarded Richard Boise exhibitions include: Artists of the Colony Traveling Scholarship (1985) Germany/ Room (1948- 2008), England & Co, London Switzerland. Alan Parsons (b. 1961, Luton, (2014); Starke Frauen, Neuer Kunstverein UK) studied BA (Hons) Fine Art Painting, Aschaffenburg, Germany (2013); Face Value, Norwich School of Art (1980-83) and MA Contemporary by Angela Li, Hong Kong Education at the Open University (2001). (2012). Solo exhibitions include: The Lure Travelling Scholarship, Cyprus College of Collapse, Galerie Dukan, Leipzig (2014); of Art (1983). Exchange + Draw was That’s Right Mister and How’s Your Fairytale co-formed in 2009-10: Group exhibitions Coming Along? The Cob Gallery, London include: Drawing Open, Salisbury Arts (2013); It’s Just My Funny Way of Dancing: Centre, Salisbury (2013); Bridges, Fold Parts I-XIII, Lazarides, London (2011). Recent Gallery/Curio Cabal, London (2012); As Yet prize shortlists include: The Young Masters Untitled?, South Bank Arts Centre, Bedford Prize (2012); Jerwood Drawing Prize (2010) (2011). Solo exhibition, Talking Heads, and The BP Portrait Prize (2008). She lives Animal Studios, Bedford (2015). Both and works in Norfolk. currently live and work in Bedfordshire.

THOMAS GOSEBRUCH (b. 1951 Munich, MARK FARHALL (b. 1968 Crawley, UK) Germany). Studied Painting at the studied BA Illustration at the University of Hochschule fuer Bildende Kunste, Hamburg Middlesex (1994-97) and MA Illustration at (1976-79), MA Printmaking at Hochschule Central St Martins College of Art and Design fuer Bildende Kunste, Braunschweig, (1999-01). Exhibitions include: 2013 Project. (1980-81), Painting at the Royal College of Drawings, Hanover Project UCL, Preston Art (1984-85) and Ceramics Diploma at City (2013); International Drawing Project, PR1 Lit (1999-2001). Group exhibitions include: Gallery, UCL, Preston (2012). He lives and The 1st International Biennale of the Arts, works in London Santorini, (2012); Jerwood Drawing Prize (2010, 2011, 2012 ); Wall Contemporary Art, London (2009); Eagle Gallery, Emma Hill Fine Art (1990). Solo exhibitions: 74

Galerie Kleindienst, Leipzig (2004, 1999); (2011, 2014); Threadneedle Prize, London Allgemeiner Konsumverein, Braunschweig (2012); Drawing the Visual Representation (2003); Christopher Hull Gallery, London of Thought, Second Thoughts, Russell (1997). Collections: The British Museum, Coates Gallery, Bournemouth (2014); The Victoria and Albert Museum and The Study Gallery of Modern Art, Poole several German museums. He currently (2008). Awards: Julian Trevelyan Memorial lives and works in London. Award, Mall Galleries (2005); Augustus Martin Printmaking Prize RCA (2003); Tom Bendham Drawing Prize, RCA (2003). TOM HARRISON (b.1982 Bath, UK) is Collection: Royal College of Art Archives currently studying at The Royal Drawing holds a selection of etchings and book School (2015-onwards). Lives and works works. She lives and works in Dorset. in London.

MEHR JAVED (b. 1983 Lahore, Pakistan) ROLAND HICKS (b. 1967 Aldershot, UK) studied BFA Visual Arts, Beaconhouse studied BA Fine Art, Winchester School National University, Lahore (2007) and of Art (1987-90) and MFA Fine Art, Slade MFA Fine Art, University of New South School of Art (1994-96). Selected group Wales, Sydney (2012). Selected groups exhibitions include: One Giant Leap: Works exhibitions include: Recent Acquisitions, from the , The Churchill Blacktown City Collection, The Blacktown Hyatt Regency, London (2012); Volta, Arts Center, Sydney (2014); Some Basel, (2011); BlowUp: New Painting and Other Place, The Blacktown Arts Center, Photoreality, St Pauls Gallery, Birmingham Sydney (2013); Indivisibilities, Rohtas II (2004). Solo exhibitions include: The Gallery, Lahore (2011). Solo exhibitions, Gathering Things, Eleven Fine Art, London, The Replenishing Zero, COFAspace (2013); Give Me Every Little Thing, Oriel Gallery, Sydney (2012). Recent prizes Davies, Newtown touring to Ffotogallery, include: Recipient of the ArtStart Grant, Cardiff, (2007); Nothing Can Stop Us Now, Australia Council for the Arts (2015); The Hiscox Art Projects, London (2003). His work Blacktown City Art Prize (finalist), Sydney has featured in the John Moores Painting (2012); Hobart Drawing Prize (finalist), Prize (2008/9), the Threadneedle Art Prize Tasmanian Museum and Art Gallery, (2009 & 2010) and the NatWest Art Prize Tasmania (2011). She lives and works in (1999). He lives and works in London. Newcastle-upon-Tyne.

WILLIAM HUGHES (b. 1991 London, BEN JOHNSON (b. 1946 Llandudno, UK) studied BA Fine Art at Manchester Wales) studied at Wrexham and Chester Metropolitan University (2011-14). Art Schools (1961-65) and MA Royal Selected groups exhibitions include: College of Art (1965-69). Selected group The Other Side of the Door is Red, exhibitions include: the travelling exhibition TAGallery, Manchester (2015); Saltaire Photorealism, Kunsthalle, Tübingen, Arts Trail, Bradford (2015); Inosculation, Germany; Museo Thyssen-Bornemisza, Manchester (2013). Recent prizes Madrid, Spain; Saarland Museum, Germany; include: Melbourne Festival Emerging Birmingham Museum & Art Gallery, UK; Talent Award, First Prize (2014). He lives Museo de Bellas Artes, Bilbao, Spain; and works in Manchester. Art Museum of Estonia, Tallinn; Musée d’Ixelles, Brussels; Osthaus Museum Hagen, Germany (2012-17); Photorealism: JULIA HUTTON (b.1954 London, UK) The Sydney and Walda Besthoff Collection, studied BA Fine Art at UCA, Canterbury New Orleans Museum of Art, USA (2014- (1996-2000) and MA Printmaking, Royal 15); Beyond Reality, British Painting Today, College of Art, London (2001-03). Recent Galerie Rudolfinum, Prague (2012). Selected selected group exhibitions include: Drawn, solo exhibitions include: Spirit of Place – Drawing Biannual, RWA Bristol (2015); RA Ben Johnson Paintings 1969 to the Present, Summer Exhibition, Royal Academy, London Southampton City Art Gallery, UK (2015-16); 75

Time Past Time Present, Alan Cristea Gallery, Eastern Illinois University, USA (1981- London (2014); Modern Perspectives, 82) and MFA Fine Art at Southern Illinois National Gallery, London (2010-11). Recent University (1990-92). Selected groups prizes include: Visitors’ Choice Award at exhibitions include: Lynn Painter Stainers The Threadneedle Prize Figurative Art Today Prize, London (2015); Beecroft Gallery, (2014). He is an Honorary Fellow of the Southend (2013); ING Discerning Eye, Royal Institute of British Architects. He lives London (2012); Jerwood Drawing Prize and works in London. (2011, 2013); Eastern Open, Kings Lynn (2010, 2014); Kettles Yard Open, Cambridge (2006, 1999); Hunting ALI KAYLEY (b. 1967 Manchester, UK) Art Prize, Royal College of Art, London studied BA Fine Art, Goldsmiths College, (2002); Pacesetters, Peterborough University of London (1987-90) and MA (1997); Here and Now, Colchester Anthropology of Media, School of Oriental (1988); Camden Annual, London (1984, and African Studies, University of London 1986); Summer Exhibition, Royal (1999-2001). Recent solo exhibitions Academy of Art, London (1984). Solo include: From Purgatory to Paradise: Nude in exhibitions include: Beecroft Gallery, Road, INDEX Gallery, Stroud (2014); From Southend (2013); Christopher Stokes Purgatory to Paradise: an Indulgence, Brunel Gallery, Chicago (1996); Artemisia Goods Shed, Site Festival, Stroud (2013); Gallery, Chicago (1991). Recent prizes Conquistador, Steve Turner Contemporary, include: Special Commendation, Jerwood Los Angeles, California (2011). She lives and Drawing Prize (2013); First Prize, Jerwood works in Stroud. Drawing Prize (2011) and the Pollock Krasner Foundation, Major Award (2001). He lives and works in Essex. NIGEL KINGSBURY (b. 1949 London, UK). Group Exhibitions: Studio Voltaire members show, Studio Voltaire, London JULIETTE LOSQ (b. 1978 London, UK) (2015); The Inner Self: Drawings from studied BA (Hons) Fine Art, Wimbledon the Subconscious, CGP, London (2014); College of Art (2004-07); Postgraduate Outside In: National Exhibition, Pallant Diploma in Fine Art, Royal Academy House Gallery, Chichester (2013-12). Schools (2007-10); BA (Hons) History Solo Exhibitions: Nigel Kingsbury: Nigel of Art, Newnham College, Cambridge Loves, Julian Hartnoll Gallery, London (1997-2000) and MA History of Art, (2014); Nigel Kingsbury: Loves Nigel, Courtauld Institute (2000-01). Selected Pallant House Gallery, Chichester (2014). groups exhibitions include: Complicit, Awards: The Inner Self: Drawings from the Coates and Scarry, Gallery 8, London Subconscious, winner (2014); Outside (2015); Ghosts, The Fine Art Society In, National Winner (2012). Collections: Contemporary, London (2015); What Pallant House Gallery and the Museum of Marcel Duchamp Taught Me, The Fine Art Everything. He works at the Action Space Society Contemporary, London (2014). studio in Studio Voltaire, London. Solo exhibitions include: Nemora, The Fine Art Society Contemporary, London (2014); Dans la poussière de cette LOIS LANGMEAD (b. 1991 Burlington, planète, Galerie Arcturus, Paris (2013); Canada) studied at Lucaria, Theodore Art, New York (2012). (2011-15). Group exhibitions included: Recent prizes include: Windsor and Assembly, Blackall Studios, London Newton Painting Prize, Griffin Gallery (2015); Assembly, Reid Building, Glasgow Open (2015); John Moores Painting (2015). She grew up in Leicestershire Prize, Finalist and Visitor’s Choice Award and now lives and works in Glasgow. (2014); Catlin Art Prize, Shortlisted Artist (2012). She was winner of the Jerwood GARY LAWRENCE (b. 1959 Essex, Drawing Prize (2005). She lives and UK) studied BA Fine Art at Portsmouth works in London. Polytechnic (1978-81); MA Fine Art at 76

GRACE MCMURRAY (b. 1985 ANOUK MERCIER (b. 1984 Paris, France) Rathfriland, Northern Ireland) studied BA studied Classical Drawing, Beaux Arts, (Hons) Fine Art Sculpture (First Class), Paris (2002-03) and BA Fine Art & Visual Wimbledon College of Art (2005-08). Culture, University of the West of England Selected Group Exhibitions include: (2005-08). Selected group exhibitions The Reverberatory, QSS Bedford Street include: The Tragedy of Landscape, Belfast (2013); Synthetic Aesthetics, Antlers Gallery, London (2015); City Lives, Leitrim Sculpture Centre, Manorhamilton Bristol City Museum & Art Gallery, Bristol (2012); Watershed, Hong Kong Visual (2013); Last Day, Cartel, London (2012). Arts Centre, Hong Kong (2010). Recent Solo exhibitions include: Excursus, Awards include: David Todd/Landmark Antlers Gallery, Bristol (2012); Paysages Fine Art Prize, Second Prize (2008). She Fantastiques et autres dessins, Galerie de lives and works in Belfast. Clamecy, France (2011). Recent awards include: Contemporary Artists Explore Printmaking Bursary, supported by the WILLIAM MACKRELL (b. 1983 London, ; Double Elephant UK) studied BA Fine Art, Chelsea College Print Workshop, Exeter (2013); ART of Art (2002-05) and is currently studying Magazine Emerging Artist Award, RWA MFA Fine Art, Goldsmiths College (2014- 159th Autumn Exhibition (2011). She 16). Selected Group exhibitions include: lives and works in Bristol. PerFORMa, FOLD Gallery, London (2015); Drawing Room Biennial, Drawing Room, London (2015); Infinite Jest, Dundee MARY MILLNER (b. 1960 London, UK) Contemporary Arts, Scotland (2012). studied City & Guilds of London School of Solo exhibitions include: Touch & Go, Art and The Royal Drawing School ‘Drawing William Benington Gallery, London Year’ (2004). Selected group exhibitions (2015); Steam Horses, The Ryder, London include: Discerning Eye (2006); The Big (2015); Lullaby, Andipa Gallery, London Draw: Self-Portrait Drawing Show, Chapel (2013). Recent prizes include: Sculpture Row Gallery, Bath (2010); Drawn to the Shock Award (2015) and International Line, Piers Feetham (2007). Residencies: Emerging Artist Award Finalist (2014). He Artist in Residence at City of London lives and works in London. School (2011-12); Dumfries House, Scotland (2014). Self curated exhibitions: Thamescapes (2012, with Phoebe Cope); SEAN MALTBY (b. 1961 Luton, UK) Legend (2015, with Daisy Millner). Public studied BA Fine Art, University of Plymouth collections: Science Museum, Eton (2007-10) and MFA in Fine Art, Newcastle College, and Hatfield House. Awards: University (2010-12). Selected group Winner of the RDS/Watercolours & Works exhibitions include: Drei Tage – Drei Kunstler, on Paper Drawing Competition at the Winikon Switzerland (2014); Field Broadcast, Science Museum (2011). She lives and Institute of Contemporary Art (ICA) London, works in South London. and Festival Gallery Riga (Latvia) and Baltic 39 Newcastle upon Tyne (2011); Jerwood Drawing Prize, London (2009). JOONHONG MIN (b. 1984 Seoul, South Solo exhibitions include: Over the Hills & Far Korea) studied BA Fine Art, Seoul Away, Akku Kunstkiste, Uster Switzerland National University (2004-10); MA Fine (2014); Aktionen in Uster (video screening), Art at Seoul National University (2010- Turbinen Halle, Im Lot, Uster Switzerland 12); MFA Fine Art, The Slade School (2014). Awards & Prizes include; Award from of Fine Art, University College London the Oppenheim-John Downes Memorial Trust (2014-16). Selected group exhibitions: (2013) and the Natalie Sitar Memorial Prize, New York Art Show, Gallery Shinhan, University of Plymouth (2010). He works in New York (2012); Forging the public Hackney, London. memory through the dissolution, Gallery Unofficial Preview, Seoul (2012). Solo & duo exhibitions: Formative Dialectic, Gallery Onground, Seoul (2014); Working 77

Condition, Gallery Woosuk, Seoul (2012); GIULIA RICCI (b. 1976, Bagnacavallo, Italy) Working Condition, Gallery C-Cloud, Seoul studied BA Fine Art, Accademia di Belle Arti, (2012). Awards: Leonora Carrington Bologna, Italy (1995-99); BA Visual Arts, Scholarship, The Slade School of Fine University of Bologna (1996-2003); MFA, Art, University College London (2014); The Slade School of Fine Art, UCL (2005- Preview Award, Degree Show of Seoul 07). Selected group exhibitions include: National University College of Fine Art, Wunderkammer, Bartha Contemporary, Museum of Art, Seoul National University, London (2014); Eccentrico Musivo, MAR, Seoul (2013); Selection Award, New York Contemporary Art Museum of Ravenna, Art Show, Gallery Shinhan, New York Italy (2014); The Edge of Painting, Piper (2012). He lives and works in London. Gallery, London (2013). Solo exhibitions and commissions include: The Grammar of Orientation, commissioned by Modus PAUL PEDEN (b. 1970 Liverpool, UK) Operandi on behalf of Crown Estate, Air studied BA Fine Art, University of Street, London (2015); The Grammar of Northumbria (1995–98) and MA Fine Art Order (with Tom Hopkins), The Tetley, Leeds at Royal Academy Schools (1999–02). (2014); Connecting Threads, The Estorick Selected group exhibitions include: Collection, London (2010). She lives and Creekside Open (selected by Lisa Milroy works in London. and Richard Deacon), London (2015). He lives and works in London. ANNETTE ROBINSON studied BA Fine Art, Gloucestershire College of LEE JOHN PHILLIPS (b. 1980 Caerphilly, Art in Cheltenham and MA Fine Art Wales UK) studied BA General Illustration, Sculpture, Royal College of Art, London. Swansea Institute of Higher Education Selected Group exhibitions include: (1998–2001); MA Visual Communication, IdeasFromElse(W)here, Winns Gallery, Swansea Institute of Higher Education London (2014); Farringdon factory, London (2001-2003) and PGCE Art and Design, (2013); Messen, Alvik, Norway (2008); Swansea Institute of Higher Education East International, Norwich (1996). Solo (2005-2006). Selected groups Exhibitions include: Acts ReActs, Solo exhibitions include: Welsh Artist of the event, residency outcome, Wimbledon Year, St. David’s Hall, Cardiff (2011); Sir Space (2014); Going Nowhere and Building, Kyffin Williams Drawing Prize, Oriel Ynys Ravenscroft Studio, Photomonth, London Mon Gallery, Anglesey (2012); Sir Kyffin (2012); Transformer, Uppsala Art Museum, Williams Drawing Prize, Oriel Ynys Mon Sweden (2000). Awards: European Gallery, Anglesey (2015). Solo exhibitions Pepiniere, Grenoble, France (1991); British include: Oriel Q Gallery, Pembrokeshire Council Sculpture Fellowship, Oslo, Norway (2011); St. David’s Hall, Cardiff (2012); (1989-90). Annette is Senior Lecturer on The Last Gallery, Llangadog (2012). He the BA Drawing Course at lives and works in Wales. College of Arts, University of the Arts London. She lives and works in London. RUTH PHILO (b. 1957, Spalding, UK) studied BA History of Art, University of JENNY ROSS (b. 1989 Aberdeen, Warwick (1975-78) and MA Fine Art, Scotland) studied BA Veterinary Medicine Norwich University of the Arts (2009- & Surgery, University of Glasgow (2007- 11). Selected group exhibitions include: 13). Exhibitions include: North East Open Contemporary British Painting: The Studios Exhibition, Turriff, Aberdeenshire Priseman Seabrook Collection, Huddersfield (2015); ArtAboyne Annual Exhibition, Art Gallery, Huddersfield (2014); This Aboyne, Aberdeenshire (2015); The Year’s Model, Studio 1.1, London (2015); Sunday Times Watercolour Competition, Royal Academy Summer Exhibition (2015). Mall Galleries, London (2015); The Royal Solo exhibition, Another Shade of Green, Scottish Society of Painters in Watercolour Benham Gallery, Colchester (2014). She 134th Annual Exhibition (2015); North East lives and works in Suffolk and Essex. Open Studios Exhibition, Kinellar, Aberdeen 78

(2014, 2010); Aberdeen Artists’ Society SOHEILA SOKHANVARI (b. Shiraz, Iran) Annual Exhibition, Aberdeen Art Gallery studied BA Fine Art and Art History, (2009, 2006). She lives and works in University of Anglia Ruskin (2001-05), Aberdeen, Scotland. Postgraduate Diploma in Fine Art, Chelsea College of Art & Design (2006) and MFA Fine Art at Goldsmiths College, University GABRIELA SCHUTZ (b. 1971 Tel Aviv, of London (2009-11). Selected group Israel) studied BA Fine Art, Bezalel College exhibitions include: Champagne Life, Saatchi of Art and Design (1992–96). Selected Gallery, London (forthcoming, November group exhibitions include: This is Home, 2015); Tectonic, The Moving Museum, Dubai Dialogue exhibition, Geffrye Museum, (2013); exTRAct, GL Strand, Copenhagen London (2015); Enclosure, Danielle Arnaud (2012). Solo exhibitions include: Boogie Gallery, London (2014); Transpositions, Wonderland, Kristin Hjellegjerde gallery, Petach Tikva Museum (2005). Solo London (forthcoming, October 2015); The exhibitions include: Ein Harod Museum, Story Teller, La Scatola gallery, London Ein Harod, Israel (2013); Platform Gallery, (2011). She was recently shortlisted for London (2005); Artist Association, (2003). Catlin Art Prize (2012); Future Can Wait She was shortlisted for the Neo:Print Prize (2013) and Young Gods (2011). She lives (2014); and Jerwood Drawing Prize (2004, and works in London and Cambridge. 2005). She lives and works in London.

CHARLOTTE STEEL (b. 1965 London, UK) SARAH SEYMOUR: (b. 1962 Aden, Yemen) studied Royal Academy Schools (1984- studied BA Crafts: Combined Studies, 7) and Chelsea School of Art (1983-4). Crewe & Alsager College (1982-85) and Selected Group exhibitions include: MSc Conservation Biology, Manchester Enjoy Democracy Responsibly, Formans Metropolitan University (1996-97). She Smokehouse Gallery (2011); ING Discerning became a full-time practicing artist in Eye (2005,2006, 2009, 2010, 2011); 2014, having had a varied career: including Jerwood Drawing Prize (2008); BP Portrait conservation, in particular with primates. Award, London (2005). She lives and works Exhibitions: Sarah Seymour with Kaija in London. Bulbrook, Smallhythe Studio Gallery (2015); New Road Artists, Rye Creative Centre Gallery (2014); New Road Artists: ‘4x4’ HANNA TEN DOORNKAAT (b. 1949 Group exhibition, Rye Creative Centre Gallery Heidelberg, Germany) studied BA (2014). She lives and works in Kent. Sculpture, Kingston University (1995-98) and MA Fine Art at Wimbledon School of Art (2000-02). Selected group exhibitions CALLY SHADBOLT (b. 1959 Windsor, include: Rebecca Hossack Gallery, UK) studied BA (Hons) Fine Art, London (2014); Gallery 8, Sydney (2014); Buckinghamshire New University (2008- Nassau 42, Antwerp, Belgium (2015). 13). Selected group exhibitions: MK Calling, Solo exhibitions: Cable Street Gallery, Milton Keynes Gallery, (2015); House London (1999); Raum2, Mannheim, on Fire, Embassy Tea Gallery, London Germany (2002). She was shortlisted for (2014); SNOOP, Building 118 Asylum National Open (2011, 2014), and was Studios, Rendlesham, Suffolk (2013). awarded the Cork Street Open Drawing Solo exhibitions: Small Exposure, Spare Prize (2011). She lives and works in Room show, High Wycombe (2014); Milton Kingston upon Thames. Keynes Gallery Project Space, Showcase (2012/2013). She was awarded the Royal Society of British Artists Award at the JOHN THOLE (b. 1978) studied BA Media British School at Rome (2009). She lives Production & Photography at De Montfort and works in High Wycombe. University, Oxford and Cherwell Valley College (2006) and MA Fine Art (Painting) at the Royal College of Art, London (2014). Selected Exhibitions: Bloomberg New 79

Contemporaries, World Museum, Liverpool College of Art Gallery (2014). Upcoming touring to the Institute of Contemporary solo exhibition: Sir Denis Mahon Award Art (ICA) London, Newlyn Gallery and The Exhibition at The Royal Drawing School Exchange, Penzance, Cornwall (2014- (2016). Awards: Leeds Student Exhibition 15); A New Circle, Forbidden City Gallery, Award, Leeds College of Art (2010- Shanghai, China (2014); Show RCA, Royal 13); Sir Denis Mahon Award, The Royal College of Art, London (2014). He lives and Drawing School (2015/16). She lives and works in London. works in Leeds.

ANNETTE TRUSS (b.1954 London, UK) ROY WILLINGHAM RE (b. 1957 studied BA Fine Art Wimbledon College of Southampton, UK) studied BA Fine Art, Art, University of the Arts London (2006- Central School of Art & Design, London 12) and MA Fine Art at Bath School of Art (1976-79). Selected exhibitions include: & Design, Bath Spa University (2013-15). 12 Contemporary British Printmakers, Selected Group Exhibitions: Students work, Karelian Republic Art Museum (1994); Deutsche Bank (2008); Reveal, Guerilla 1+1+1, De Ploeg Gallery, Gröningen, Galleries, London (2013); Art and Protest, Holland (2002); Wrexham Print Guerilla Galleries, London (2013). She International (2013). Recent Prizes lives and works in Bath and London. include ‘Best Tiramisu made by an Englishman’, 2nd Prize (2015). He lives and works in London. ALAN TURNBULL (b. 1954 County Durham, UK) studied BA Fine Art at University of Newcastle (1973-76), and MA Painting, MARTHA ZMPOUNOU (b. 1978 Chelsea School of Art (1976-77). Solo Thessaloniki, Greece) studied BA Fine exhibitions include: The Translated Image, Art and MA Painting, Aristotle University Pázmány University, Budapest (2013); of Fine Arts, Greece (1998–2003); MA The Dresden Archive Project, The German Illustration, College Historical Institute, London (2012-13); The of Art and Design, University of the Arts Poet in Exile, Vladimir Nabokov Museum, St London (2009-11). Selected groups Petersburg (2009). He lives and works in exhibitions include: The Threadneedle North Yorkshire. Prize, Mall Galleries, London (2012); Discerning Eye, Mall Galleries London (2011); Royal Society of Portrait Painters RONIS VARLAAM (b. 1946 Nicosia, Annual Exhibition, Mall Galleries, London Cyprus) studied MA Filmmaking, London (2011). Solo exhibitions include: Zina Film School (1968-70). Selected group Athanasiadou Gallery, Greece (2015); exhibitions include: Proect Berlin, Factory- Young Artists, Zina Athanassiadou Gallery, Art Gallery (2014); Creekside Open, APT Greece (2009). Recent prizes include: Gallery, London (2011); Social cinema, The EWAAC award for the best drawing (2015), Residence Gallery (2011). Solo exhibitions: Secret Art Prize (shortlisted) (2014), The Alsager Gallery, Manchester Metropolitan De Laszlo Foundation Award (2011). She is University (2003); Kirkby Gallery (1999). an Associate Lecturer at University of the She lives and works in London. Arts London and lives and works in London.

ROSIE VOHRA (b.1992 Hertfordshire, UK) studied BA (Hons) Fine Art at Leeds College of Art (2010-13) and MA Drawing at The Royal Drawing School (2013-14). Selected group exhibitions include: Forever Say, Forever Always, Gage Gallery, Sheffield (2015); Verso, The Tea Building, London (2014); Hand in Hand, Leeds 80

ABOUT JERWOOD DRAWING PRIZE 2015

Jerwood Drawing Prize is an annual exhibition that is open to submission by all artists resident in the UK. It is selected from original art works made since January 2014. The Jerwood Drawing Prize 2015 awards are announced at the Private View at Jerwood Space London, on Tuesday 15 September 2015.

PRIZES

First Prize – £8000 Second Prize – £5000 Two Student Awards – £2000 each

AWARD WINNERS AND SELECTORS 1994-2014

1994 Selectors: Graham Crowley, Anthony Green RA, Estelle Thompson Award Winners: Sharon Beavan (Rexel Derwent Prize) Louise Cattrell (Cheltenham Prize) Ken Lowe (Student Prize) Gerry Davies (Highly Commended) David Oates (Highly Commended) Judith Tucker (Highly Commended) Angela Weyersberg (Highly Commended) 1996 Selectors: Peter de Francia, Deanna Petherbridge, Anita Taylor Award Winers: Kenny Lowe (Purchase Prize) Jane Dixon (Prizewinner) Barry Kemp (Prizewinner) Peter John (Prizewinner) David Oates (Prizewinner) Kay Pont (Prizewinner) Irrum Ahmed (Student Prize) 1997 Selectors: , Felicity Lunn, Nick Tite Award Winners: Rebecca Salter (Major Award) Peter Darach (Award) Caroline Frood (Award) Andrea Mclean (Award) Milda Gudelyte (Student Award) Matthew Watkins (Student Award) Gerry Davies (Commendation) Alison Harper (Commendation) Judy Inglis (Commendation) Yoko Omoni (Commendation) David Prentice (Commendation) Mandy Pritchard (Commendation) Angela Rogers (Commendation) 81

1998 Selectors: David Alston, Eileen Cooper RA, Nicola Shane Award Winners: Wynne Jones (Major Award) Michael Grimshaw (Award) Jane Joseph (Award) Joyce Gunn Cairns (Award) Alison Harper (Award) Mia Fernandez (Student award) Mark Harris (Student Award) Jeanette Barnes (Comendation) David Connearn (Commendation) Tam Inglis (Commendation) Sophie Knight (Commendation) Debbie Lee (Student Commendation) Robin Mason (Commendation) Mary Nelson (Commendation) Christopher Nurse (Commendation) Alan Stones (Commendation) Sarah Woodfine (Commendation 1999 Selectors: Angela Flowers, Alexander Moffat Award Winners: Anna Mazzotta (Major Award) Frances Aviva Blane (Award) Joanna Greenhill (Award) Anita Taylor (Award) Martina Schmid (Student Award) 2000 Selectors: Andrew Brighton, Mel Gooding, Isobel Johnstone, Doris Lockhart Saatchi Award Winners: David Connearn (Major Award) Jane Harris (Award) Anne Howeson (Award) Lorraine Robbins (Award) Emma Oldridge (Student Award) Nina Troitsky (Student Award) 2001 Selectors: Frances Carey, Richard Cork, Angela Kingston Award Winners: Kate Davis (1st Prize) Sian Bowen (2nd Prize) Paul Ryan (3rd Prize) Lisa Cathro (Student Prize) Jen-Wei Kuo (Student Prize) 2002 Selectors: Marco Livingstone, Cornelia Parker, Marina Warner Award Winners: Adam Dant (1st Prize) Ansel Krut (2nd Prize) Jane Harris (3rd Prize) Susan Collis (Student Prize) Chie Konishi (Student Prize) 82

2003 Selectors: Ken Currie, William Feaver, Anita Taylor Award Winners: Paul Brandford (1st prize) Jeanette Barnes (2nd Prize) Bryan Biggs (3rd Prize) Caroline Edwards (Student Prize) Joshua Thomson (Student Prize) 2004 Selectors: Basil Beattie, Mary Doyle, Tony Godfrey Award Winners: Sarah Woodfine (1st Prize) Stephen Walter (2nd Prize) Tom Hammick (3rd Prize) Ailbhe Ni Bhriain (Student Prize) Conrad Frankel (Student Prize) 2005 Selectors: Stephen Farthing RA, Martin Kemp, Sarah Simblet Award Winners: Juliette Losq (1st Prize) Katie Cuddon (2nd Prize) Amanda Couch (Student Prize) Linda Meakin (Student Prize) 2006 Selectors: Jason Brooks, Yvonne Crossley, Paul Thomas Award Winners: Charlotte Hodes (1st prize) James McLellan (2nd Prize) Zoe Anderson (Student Prize) James Wright (Student Prize) 2007 Selectors: Paul Bonaventura, Avis Newman, Catherine de Zegher Award Winners: Melanie Jackson (1st Prize) Brighid Lowe (2nd Prize) Minho Kwon (Student Prize) Daisy Richardson (Student Prize) 2008 Selectors: Tony Bevan, Emma Dexter, John McDonald Award Winners: Warren Baldwin (1st prize) Lia Anna Hennig (2nd Prize) Tobias Teschner (Student Prize) Aline von der Assen (Student Prize) 2009 Selectors: Tania Kovats, Roger Malbert, Nicholas Usherwood Award Winners: Mit Senoj (1st prize) George Chapman (2nd Prize) Frances Stacey (Student Prize) Roxanne Goffin (Student Prize) 83

2010 Selectors: Charles Darwent, Jenni Lomax, Emma Talbot Award Winners: Virginia Verran (1st Prize) Cadi Froehlich (2nd Prize) Warren Andrews (Student Prize) James Eden & Olly Rooks (Student Prize) 2011 Selectors: Iwona Blazwick, Tim Marlow, Rachel Whiteread Award Winners: Gary Lawrence (1st Prize) Jessie Brennan (2nd Prize) Nicki Rolls (Student Prize) Kristian Fletcher (Student Prize) 2012 Selectors: Stephen Coppel, Kate Macfarlane, Lisa Milroy RA Award Winners: Karolina Glusiec (1st prize) Bada Song (2nd Prize) Katie Agett (Student Prize) Min Kim (Student Prize) Jane Dixon (Highly Commended) 2013 Selectors: Kate Brindley, Michael Craig-Martin RA, Charlotte Mullins Award Winners: Svetlana Fialova (1st Prize) Marie von Heyl (2nd Prize) Kristian Fletcher (Student Award) Tamsin Nagel (Student Award) Neville Gabie (Special Commendation) Gary Lawrence (Special Commendation) 2014 Selectors: Gavin Delahunty, Janet McKenzie, Alison Wilding RA Award Winners: Alison Carlier (1st Prize) Sigrid Muller (2nd Prize) Ara Choi (Student Prize) Annette Fernando (Student Prize) Sally Taylor (Special Commendation) 84

ACKNOWLEDGEMENTS

Jerwood Charitable Foundation and the Jerwood Drawing Prize project would like to thank everyone who has contributed to the origination of the Jerwood Drawing Prize 2015 exhibition. In particular: Project Management and Marketing, Parker Harris Selection Panel Coordinator & Co-founder, Paul Thomas Chief Technician, Marc Thomas Jerwood Visual Arts, Hannah Pierce, Oliver Fuke, Lauren Houlton and James Murison The 2015 Team of Handlers and Administrators Phoebe Baines, Euan Baker, Holly Beighton, James Collins, Lucy Cox, Jasmir Creed, Gavin Edmonds, Barney Gammond, Fred Hoffman, Alexander Ioannou, Ravina Jassal, Lia Leozappa, Elizabeth Mackintosh, Kieron Marchant, Luke McArthur, Florence Mytum, Charlie Newhouse, Rose Parker, Tara Parmar, Helen Rawlins, Ffion Reed, Tom Savery, Alexandra Stevens, Dimitri Yin The 2015 Regional Collection Centres, their Representatives and the Transportation Team The staff at Wimbledon College of Art, University of the Arts London; Dan Young, University of Gloucestershire; Catriona Morley, Victoria Rankin, Ailie Ormston, Claire Chalmers, Elle Arscott, ; Carl Rowe, Andrea Girling, Rebecca Kadi, Norwich University of the Arts; Richard Talbot, Sofija Sutton and Helen Shaddock, Newcastle University; Kerry Harker, Ruth Williamson, Hayley Mills-Styles and the team at The Tetley, Leeds; David Tinkham, Selina Ogilvy, Rachelle Aaronson, Clare Thatcher, April George, Victoria Bone, Bath School of Art and Design, Bath Spa University; Hannah Jones, Leah Harris, Julie Ellis, Andy Cluer, Lisa Davidson, ; Chris Brown, Megan Winstone, Rebecca Thomas, g39, Cardiff; Doris Rohr, Siobhan McQuade, Joanne Proctor, University of Ulster; Art Moves of Chelsea, Art Works, Irish Art Courier, Picture Post and South Hams Express who all transported work to and from the London collection centre. The 2015 Tour Partners and their Representatives Cheltenham Art Gallery and Museum: The Wilson Sidney Cooper Gallery Falmouth Art Gallery For their generous support of the catalogue