JERWOOD DRAWING PRIZE 2014
Supported by
In association with Jerwood Visual Arts 171 Union Street London SE1 0LN United Kingdom Published to accompany the Jerwood Drawing Prize 2014 & touring exhibition. Copyright © Jerwood Drawing Prize & Jerwood Charitable Foundation. All or part of this publication may not be reproduced, stored in retrieval systems or transmitted in any form or by any means, whether electronic or mechanical, including photocopying, recording or otherwise, without the prior permission in writing of the publisher. 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 2014 Exhibition Tour Details
5 Foreword, Shonagh Manson
6 Introduction, Professor Anita Taylor
8 Selection Panel
9 Selection Panel Perspectives: Gavin Delahunty Dr Janet McKenzie Alison Wilding RA
12 Catalogue of Works
62 Artists’ Biographies
71 Acknowledgements 4
JERWOOD DRAWING PRIZE 2014 EXHIBITION AND TOUR
16 September – 26 October 2014 Jerwood Space 171 Union Street London SE1 0LN jerwoodvisualarts.org
22 November – 4 January 2015 Cheltenham Art Gallery And Museum: The Wilson Clarence Street Cheltenham Gloucestershire GL50 3JT cheltenhammuseum.org.uk
16 January – 1 March 2015 The Tetley Hunslet Road Leeds LS10 1JQ thetetley.org
13 March – 23 April 2015 The Gallery The Arts University At Bournemouth Wallisdown Poole BH12 5HH aucb.ac.uk/about-Us/campus/gallery/
9 May – 12 June 2015 The Burton Art Gallery And Museum Kingsley Road Bideford Devon EX39 2QQ burtonartgallery.co.uk 5
FOREWORD
It is a very special year for the Jerwood Drawing Prize in 2014, as it celebrates its 20th exhibition. In a world all too obsessed with the new, with working at speed and with change, it is an important and unusual thing to be involved in a project which has weathered two decades; growing, yes, but remaining true to its principles and as relevant as ever. It is a project which still, as this year’s exhibition shows, makes space for slower contemplation, more intimate communication and a different kind of language to be shared. It is an achievement to have continued to secure that space, and a pleasure to draw attention to that achievement through congratulating Jerwood Drawing Prize founders Professor Anita Taylor and Paul Thomas for all they have done for drawing.
The Jerwood Drawing Prize is not only embedded in a community of arts practitioners, it can take some responsibility for being the impetus or meeting point for such a community. As a funder, it is a proud moment for us to celebrate our involvement in a project which remains at the heart of artists and art education’s calendars and imaginations. As well as the significant prize monies for artists and its UK-wide touring exhibition, the vast physical submissions process also creates paid opportunities for students working alongside it across the UK. With some of them, I watched this year’s selection panel as they surveyed and considered the multitude of potential exhibitions held within such a submission, plumbing their instinct. There are many shows which could have been made from this, as always, and the exhibition we have is a tantalising reflection of the energy of works and selectors together.
There are many individuals and organisations who each year share in the mammoth task of getting this exhibition on the road. They are acknowledged in Professor Taylor’s introduction and I would like to add the sincere gratitude of the Trustees and team at the Jerwood Charitable Foundation to all who have made it possible, particularly our own gallery team at Jerwood Visual Arts, project managers Parker Harris and the touring venues for this anniversary exhibition.
Shonagh Manson Director, Jerwood Charitable Foundation August 2014 6
INTRODUCTION
The annual Jerwood Drawing Prize exhibition provides a forum to test, evaluate and disseminate current drawing practice, and to gain knowledge and understanding about the field of drawing and the artists currently making work within the discipline in the UK. It aims to promote and reward excellence in contemporary drawing through the support and recognition of the work of established and emerging artists in this field and is open to submission from those who reside in the UK, with works submitted from throughout the country via collections centres, which in 2014 were located in Bath, Cheltenham, Edinburgh, Leeds, London, Newcastle-upon-Tyne, Norwich and Plymouth.
Drawings are considered for inclusion in the exhibition by a panel of three selectors who represent the perspectives of practitioner, curator and writer all with expertise in the field of drawing. Each year the selection panel changes, and the resultant exhibitions reflect differing priorities and focus for each panel in response to the work submitted for their consideration. The selectors act as independent arbiters of the works presented, and are tasked to identify and choose drawings that represent their combined prerogatives and values in response to the submission. The panel first select the drawings for the exhibition, and then collectively choose the drawings that will receive the awards. The distinguished selection panels are the catalysts to the facilitation of a stimulating and vigorous debate about and through drawing, set within this framework. We are immensely grateful to our expert panel members – Gavin Delahunty, Dr Janet McKenzie and Alison Wilding RA – for their care, rigorous attention and intensive focus in their selection of the exhibition and for their essays for this catalogue.
The 2014 selection panel saw each of the 3,234 works submitted by 1,677 entrants over two days in the studios at Wimbledon College of Art in London. Of these submissions 512 were by 321 applicants qualifying as students. The scale and quality of the 2014 submission and resultant exhibition demonstrates the attention to the role of drawing within the practice of many established, emerging and student artists, designers and makers. As a result of this highly intensive selection process, 52 drawings by 46 artists were selected for the 2014 exhibition, with 8 individual student works included.
This is the twentieth open drawing exhibition organised under my directorship with co-founder Paul Thomas. The context for the original development of this exhibition was the debate around the nature, value, status and representation of drawing as a contemporary art form and within art education in the early 1990s. Originated within the heart of an art school, where research and academic ethos provided an immediate forum for this enquiry about the value of drawing today, the project has aimed to engender and contribute to the dialogue and debate around the subject through the annual exhibition and the associated educational events. Since establishing the project in 1994, we have exhibited 1,795 drawings within the 20 open exhibitions held to date, and have 7
had the immense privilege of working with phenomenal artists, selectors and supporters to gain understanding of the wealth and diversity of contemporary drawing practice in the UK today. We look forward to presenting an overview of the project in a wider context; and a special exhibition Drawn Together: Artist as Selector on display at the Jerwood Gallery in Hastings from 19 July to 15 October 2014.
We are immensely grateful for the continuing commitment and support for the Jerwood Drawing Prize project from the Jerwood Charitable Foundation and the wider Jerwood family of organisations. The generous support for the project from the Jerwood Charitable Foundation since 2001 has been phenomenal and we are fortunate to have the sustained and passionate support of Shonagh Manson, the Director; Tim Eyles, the Chairman; and the Trustees.
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; students of Wimbledon College of Art and Bath School of Art and Design; the team at Parker Harris who manage the administration of the project; Marc Thomas, lead technician; the Jerwood Space and Jerwood Visual Arts teams; tour venue partners; those who work on the transportation, handling, website, design and print; Paul Thomas, co-founder and selection coordinator; and Bath Spa University who support my involvement as director of the project. Of course, the most important thanks go to the selectors, and to all of the artists who submit for the exhibition.
Congratulations to each of the artists included in the exhibition, and especially to the award winners of the Jerwood Drawing Prize 2014.
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 2014 8
SELECTION PANEL
L-R: Gavin Delahunty, Dr Janet McKenzie, Alison Wilding RA
Gavin Delahunty Senior Curator of Contemporary Art, Dallas Museum of Art
Dr Janet McKenzie Author and Co-editor of Studio International
Alison Wilding RA Artist 9
SELECTION PANEL PERSPECTIVES
It is well known that drawing directs the practice of many contemporary artists and that the Jerwood Drawing Prize is one of the best platforms for artists to showcase their work. Over the centuries, during its evolution, what was expected of the medium has been radically ignored by artists who have pushed its boundaries beyond its traditional definition. This interrogation of drawing’s parameters was at the forefront of my mind as I caught the first glimpses of the artworks submitted for the 2014 prize. As the excellent team at the Wimbledon College of Art brought out wave after wave of works for scrutiny it became clear that Alison, Janet and I needed to consider process and concept as much as skill and technique. Moreover, that the innovative use of digital media had the potential to expand the idea of what drawing might mean.
Collaborative judgment is a complex exercise. With limited time we had to put faith in prior knowledge, our collective expertise and the power of individual artworks. Over two days we discovered masterful draftspersons together with artists who eliminated precise delineation in favor of spatial incoherence. We were surprised by aggressive and disquieting renderings that were full of internal conflicts; we appreciated works that suggested a cerebral voyage and others that were simply about the joy of expression without interruption or modification. Overall, we were attracted to those artists who explored the field in both playful and sophisticated ways.
The shortlist is made up of those artists who knew how to embrace, or indeed reject, the manifold approaches to drawing that exist today. Naturally such a process of selection is always a subjective exercise grown out of the different visual and intellectual sensibilities of the jury. This vital tension between the judges ensured that the final selection went beyond any singular voice or tendency delivering a superb and surprising group of “drawings” for exhibition and commendation.
Gavin Delahunty Senior Curator of Contemporary Art, Dallas Museum of Art August 2014 10
The prospect of finding a winner from over 3,000 drawings was initially daunting and slightly anachronistic, for drawing in the present time is associated with the highly subjective response that one might argue, cannot be judged or categorised, as perceptual drawing traditionally was. Having written about drawing since my late twenties, and conscious of the vastly expanded definition since the 1980s to include multifarious materials, new media, sound, video, it seemed potentially an extremely difficult task. Yet, the process of choosing the works possessed a matter-of-factness that was very refreshing. In terms of materials used and methods employed, variety and innovation characterised the wide-ranging art practice represented. There were vast works that required a team of assistants, ritually to unroll them on to the floor; over 100 works were submitted on DVDs including poignant examples of sound art and video where sound ricocheted around or resonated through a gallery space that became the picture plane, and here hearing is another form of seeing. There were spatial drawings that assumed the exhibition area that sculpture previously had negotiated and dominated, and very many works in traditional materials such as paper, pencil, ink, and watercolour. As judges we complemented each other agreeing on the short listed works and unanimously on the winners. Indeed, it was a natural process characterised by instinct, close examination and reflection. A shared aesthetic was identified in a significant number of artists employing minute ink lines defining the flux of life through abstracted forms on a relatively large picture plane; a shared mood was also discernible in many of the drawings submitted. We walked around each room “fill” (approximately 150 works each x 20) looking intently as if negotiating a crowd of strangers, looking for a perceptible quality or presence. The works that stood out in the main possessed the capacity to open the viewer up to another way of thinking, to open oneself to feelings, to enable the visualisation of one’s place in the world. When examining the volume of works, I was mindful of the notion of authenticity in an artwork, of there being a discernible trueness to self; an appropriateness between a message and the language chosen; between idea and form. So what was it that we found ourselves drawn to? The term, ‘voice’ is used in this context; and also the notion that the shortlisted works in fact found us. Intuitive connections were made between the three judges and the works chosen in a very natural manner; each of those works chosen possessed a quality that stood out. The selection process was extremely life enhancing. The degree of thoroughness and in turn certainty required came in direct response to the nature of drawing itself. Drawing has a great capacity to engage the viewer, as if meeting candid individuals for the first time. It was therefore a very great privilege to be invited to undertake such a task. At once private and portable, essentially preliminary or diaristic, drawings continue to provide an immediate form of expression, ideally suited to modern life, travel, allowing a greater independence of conventional studio spaces. The conceptual and the subjective, arguably the most vital components of contemporary art practice – connect in drawing more forcibly and more appropriately than in any other form of art. Possessing an independent notion of self, and defining the method and the means to express it is one of the criteria for judging a good drawing. An obvious question perhaps is: why were certain works excluded, particularly those with manifest skill, such as a well- executed realistic portrait. To define the presence of the creator’s character, experience cannot easily be described in words, but it is palpable in the quality of the mark, the integrity of its application, the life force that has been infused into inert materials. Dr Janet McKenzie Author and Co-editor of Studio International July 2014 11
The great pleasure of an open submission competition is the abundance of drawing in all its possibilities; and whilst every drawing is presented in its own right with its own voice, there will inevitably be connections and conversations between those selected to be in the exhibition. To be a judge for the Jerwood Drawing Prize was to be at the very heart of this – making an exhibition from over 3,000 drawings with two other judges – (none of whom had previously met), and assisted by scores of efficient students who set up the works in batches of 200 for the judges to look at: and all this to be completed within two days. At the outset, our criteria was that this was not a survey show, but a personal selection. From my perspective, the ability to recognise a drawing which stands out and immediately communicates is an instinctive response that I am totally confident with; it come from my own experience of making drawings and is undoubtedly subjective and particular. I suspect that the students found many of our choices perplexing, as well as the speed with which we were able to select drawings and the relatively small number we finally chose (approximately 50). We conceded that we had been very tough with our selection right from the beginning of the process, but with no regrets or recriminations. As judges we agreed there should be a consensus about which drawings would be included, and enormous enthusiasm from one judge could encourage one to re-appraise a drawing. By the end of the second day, we were in total agreement much to our surprise! What makes a good drawing? A good drawing demands to be made and is never merely an exercise in technique or style. I think a drawing, in whatever shape or form – and drawing is now accepted as being an expanded field – should retain something of the eye, mind and hand of its maker. We were presented with three dimensional work, some of which was problematic to install and appraise in a confined space and in a short time, and a lot of video works of up to six minutes duration, some with tenuous connections to drawing as an activity. With some entries I had an immediate, almost visceral response, aware that I was in the presence of a totally new thing demanding my attention. As with all good art a drawing must be authentic, and I admit to being almost hoodwinked by some drawings! There is an aesthetic I lean towards which can be overly ‘knowing’ and from which I was rightly pulled back by my fellow judges. Not surprisingly there was much serious discussion both in the presence of the drawings and around the lunch table, often sparked off by works which were not selected: ‘Is there such a thing as a ‘recession’ drawing?’ was one such question, concerning drawings which I would describe as obsessive, repetitive, all-over mark making in pencil or fine pen, which speak of a drawing expanding to fill the time . There were so many of this type of drawing that whilst one may have stood out, its impact was lessened by its similarity to others. ‘Is the send in mainly from a narrow tranche of artists?’ – ie mostly recent graduates located in the metropolis, and ideally ‘Should there be a much larger catchment area for the Jerwood Drawing Prize?’ And there was much excited discussion about the prize winners. It was a huge privilege to take part in this intense, learning experience. For the exhibition we have selected some beautiful drawings and I anticipate that the prize winners will stand out. Whilst it is always disappointing to be unsuccessful in any competition (and I know all about this!) – rejection should not be seen as failure. It’s worth remembering that the judging process was totally subjective and you could say we simply chose other things. Alison Wilding RA Artist 2014 12 BONITA ALICE
Beast Dead, 2014 Acrylic on paper, 52.3 x 63.2cm
I try to make sense in pictures of that which eludes us in the space between human and (non-human) animal. We seldom recognise that the anxiety in the relationship comes from both sides, because we take comfort from the false assumptions we make about our dominion and an equally false idea of their cooperation. My Beast avoids a familiar form since it’s not fur or skin or smell, but the particular intimacy of mutual need I wish to grasp intelligently. 13 IAN ANDREWS
Catch my breath, 2014 Filmed drawing, Continuous (still illustrated)
My work is rooted in drawing, an activity that shows most directly the workings of the mind. Through its fluidity it creates a space for connections to be continually re-made. To express this continuum, actual movement seemed necessary. Recent drawings made on crumpled surfaces, flopped and twisted when handled, as I recorded this, associations started to reveal themselves, to breathing, as the piece bulged and contracted, echoing the inhaling and exhaling of air in the lungs. To the forces acting under the surface of the earth, the thin crust moving, sometimes violently, across the molten lubricant beneath. 14 JEMMA APPLEBY
#2230113, 2013 Charcoal on paper, 45 x 45cm
The drawing amplifies the environment’s simplicity and purity with an aim of clarification. These clean minimal spaces offer little information yet have an authority to describe a magnitude. The non-narrative architectural spaces make enquiries of the memory, knowledge and experience of human space. 15 ALAN BOND
Airborne, 2014 Watercolour and pencil, 63 x 83cm
My drawing depicts a formation landing of Horsa gliders. Bulky, fragile and unarmed, these single use aircraft were used to deliver airborne troops in the Second World War. The drawing is a memorial and reflects how events fade from living memory to historical record within a lifetime. 16 JESSIE BRENNAN
Apostelstraat 20, 2013 Graphite on paper, 120 x 150cm
Jessie Brennan’s practice explores the representation of places through drawing and dialogue, informed by their social histories and changing contexts. Apostelstraat 20 is a site-responsive work developed during visits to Sint-Niklaas, Belgium, based on the dwelling of deceased occupant Jan Buytaert. The drawing was inspired by the title ‘attracted by another level’ for the triennial exhibition Coup de Ville curated by Stef Van Bellingen. The work was exhibited alongside a 19th century Sled (courtesy Huis Janssens) and a carillon sound recording (written by Anton Van Wilderode and composed by Ignace De Sutter). The project was supported using public funding by Arts Council England. 17 ALISON CARLIER
Adjectives, lines and marks, 2014 Audio, 1 min 15 seconds (sound waves illustrated)
Observational drawing. An open-ended audio drawing, a spoken description of an unknown object. Voice tracks as the eye casts over the form, translating to paper. Adjectives, lines and marks. Text: Roman Southwark Settlement and Economy – excavations in Southwark 1973-91, held at The Museum of London Archive. 18 SARAH CASEY
Common grounds 3/52, 2014 Oil on paper, 51 x 40.5cm
Common Grounds is a current project with The Bowes Museum, using drawing to catalogue lace bonnets in the Blackborne Lace collection which were previously unstudied. Some of this lace is over 300 years old and remained buried in trunks since coming to the museum. The drawings are made with oil on paper; when held up to the light they appear like ghostly scans, portraits of long-forgotten people. This work contributes to a research project, Walking the Line, conceived in collaboration with Gerry Davies at Lancaster University, where drawing is utilized in challenging environments and in dialogue with other fields of research. 19 MARK CAZALET
Anni’s pond night 1, 2013 Mixed media on paper, 40 x 65cm
Drawing directly from nature has become the main focus of my practice. I work in chalk pastel or silver/gold markers on coloured paper. During the spring of 2012 and 2013 I was artist in residence at The Josef and Anni Albers Foundation in Connecticut, working in near isolation in the grounds of the estate. This allowed me to be immersed uninterrupted in the landscape, from dawn to drawing at night from a canoe on Anni’s pond. A total absorption in recording the shifting experience of light phenomena created an altered state of contemplation, an ecstatic sense of connectedness. 20 ALEX CHALMERS
Untitled (for Ian Welsh), 2014 Coloured pencil on paper, 68 x 101cm
Untitled (for Ian Welsh) is a drawing from an ongoing body of work that contemplates surface as landscape whilst refusing any reference to scale or position. The dogma of the grid is corrupted by willful glitches that resist the automaton-like potential of the drawing. Ian Welsh (1944-2014) was an artist and friend, whose encouragement and enthusiasm was and remains a constant inspiration. Welsh made layered paintings of his detailed observations of water. 21 ARA CHOI
Mother No.0, 2013 Pen and crayon, 50 x 40cm
In my current practice, I question how an individual trauma can penetrate the levels of awareness within the structure of the unconscious. The condensation, displacement and organisation of psychical intensities occurs while dreaming. This process was described by Freud as ‘the dream work’. The dream work performs an obscure phenomenon with the distortion of images captured when we experience horror and anxiety emotions. I am interested in how and why the individual traumas are related physically and psychically. My work aims to display a symbolized form of the visual language found in dreams and reality. 22 DAVID COOPER
Pre Info No.15, 2013 Xerox ink, packing paper, card, pencil, biro, marker pen and rubber tape, 42 x 33cm
This work – Pre Info No.15 – originates from a series of drawings informing the scenes for pre-existing or future sculptures by the artist. It is fundamental to the process, setting an intention in form, identity and technique. It is a statement of the negative spaces where the subjects (the sculptures) are absent, and yet overbear the atmosphere of the scene. With an indulgent, greedy use of found media – Xerox inked paper, tape, biro, pencil, packing paper and cardboard – the work is bold in its use of value and primitive chiaroscuro, but is absolved of any deliberate agenda to reform the classical. 23 DAVID REES DAVIES
Untitled 2, 2014 Watercolour on handmade paper, 53 x 73cm
Last summer, after returning from a walk, I made watercolour studies of horse chestnuts and their cases. Five vanished hours later I stopped, picked up the spikey objects, closed my eyes and rotated them slowly and carefully in my hand. For the last ten years my dear friend Pavel has rung me on his mobile from his Ukrainian dacha (some ten miles from the Russian border) to invite me to listen to his local nightingales singing their hearts out, claiming their territory. This spring while watching the ominous and unfolding events near his home live on my laptop I was struggling to create images for a friend’s surreal, bizarre poetry. I had commissioned someone I’d known and worked with for decades to design the cover but his sudden unexpected death that day left me shocked and saddened. I thought about abandoning the project – when the celebrated zoologist Desmond Morris stepped in and submitted a collaged artwork. We now had a cover but as yet no images. I abandoned all my previous attempts, picked up my favourite, ridiculously broken Chinese brush, poured myself a glass of wine and freely started drawing and drawing and drawing… ZOO TIME…indeed. 24 MICHAEL DITCHBURN
Abstract carpet, 2014 Printing ink, 45 x 62cm
Abstract carpet is a monoprint from a series of drawings inspired by Eastern textiles. 25 SHAUN DOLAN
Medicine bottle II, 2014 Charcoal on paper, 62.5 x 45cm
Medicine bottle II is taken from a series of experimental work exploring the boundaries of drawing. In this instance the focus was on a single continuous line representing a form, which was achieved by looking only at the object and at not the paper. 26 SUSANNAH DOUGLAS
Ensemble, 2014 Pencil on paper, 22 x 27.5cm
Ensemble is a familiar situation, a group formation of costumed figures assembled and ordered by the conventions of the school portrait. The process of transcribing the image using three colours of ink and pencil references the image’s construction, separating and layering the colour print out. The drawing is a partial facsimile of the generic. Maybe I want this to be my history. 27 SUSANNAH DOUGLAS
Ensemble diptych (part 1), 2014, Pencil on paper, 22 x 27.5cm Ensemble diptych (part 2), 2014, Pencil on paper, 22 x 27.5cm
Ensemble diptych is a familiar situation, a group formation of costumed figures assembled and ordered by the conventions of the school portrait. The image is constructed from layered and reflected photocopies of the same image. The process of transcribing the image forms a unified surface. The drawing is a partial facsimile of the generic, repeated. Maybe this could be my history. 28 HANNAH DOWNING
Vertical panorama: Oak tree, 2013 Graphite on paper, 230 x 93cm
Central to Hannah Downing’s practice is a fascination with the way in which reality is presented to us in pictures. The drawing Vertical panorama: Oak tree is an attempt to explore an extended or unusual view whilst holding on to the formalistic markers of realistic representation. There is no set subject matter beyond the act of looking itself, and the process of attempting to express or give shape to that personal subjective experience. 29 SARA DUDMAN
Megalith I, 2014 Graphite, charcoal and gouache on paper, 90 x 85cm
Megalith I is the product of a deep immersion in the far westerly Cornish coastal environment. Permanence and impermanence are in balance. Megalith I is an enduring testament to human presence, belief and occupation. Present for centuries, yet now alien, removed from its context of belief and purpose it becomes timelessly fused to its environment. Using the intuitive, personal, interpretive possibilities of drawing yet derived from the immediacy and documentation of video, this drawing combines analysis and emotion. The drawing conveys a layering and compression of time, space and place. Boundaries exist between figuration and abstraction, expression, memory and reality. 30 GARY EDWARDS
There are no owls #1, 2014 Graphite on paper, 86 x 115cm
At a basic level my drawings are concerned with mark making. To some extent the composition is arbitrary. What concerns me is the patina, building up layers of graphite, working and reworking, adding and taking away, creating histories of mark making. “‘Look at the owl,’ Rachael Rosen said. ‘Here, I’ll wake it up for you.’ She started toward a small, distant cage, in the center of which jutted up a branching dead tree. ‘There are no owls,’ he started to say. Or so we’ve been told.” Do Androids Dream of Electric Sheep? Philip K. Dick 31 HILARY ELLIS
Enigma II, 2014 Thread on paper, 93 x 98cm
This work reflects a pre-occupation with repetitive mark making and the subtle differences that emerge as part of that process. The use of thread as a medium contributes to the individuality of the marks bringing another dimension to the repetitive process. 32 UTA FEINSTEIN
Quest, 2014 Charcoal, pastel and chalk, 42 x 59cm
The drawing Quest evolved through an exploratory, searching process, which involved tapping into the subconscious using touch and surrealist-inspired blind and automatic drawing to access my creative impulses. It speaks of the intangible, of psychological and emotional responses to the uncertainties of life. The image raises doubts and questions rather than providing answers, hovering between dissolution and becoming, between presence and absence. Its meaning remains cryptic, elusive and unresolved. Order and balance have been displaced and overcome by subversive forces, e.g. violence, despair and anxiety, leading to instability and chaos. Almost paradoxically, new possibilities emerge, leaving the image open-ended. 33 ANNETTE FERNANDO
Wait a minute, it’s the truth and the truth hurts XIV, 2013 Ink on paper, 23 x 32cm
Through literature and film we make sense of our own lives. It is this notion that I explore within my artistic practice. The core of my work is biographical but I draw from appropriated mediated images, sourced primarily from archives, television and film. I select images, pinpointed moments, that resonated deeply with me but weren’t actually part of the reality of my own life. Relating to these stories exposes the way in which our desires, intimate relationships and the way we behave is all conditioned by culture. By selecting these images I re-expose them, calling them into question. 34 FREYA GABIE
Study of caravan wallpaper, 2013 Ink on paper, 77 x 57cm
This drawing is a study of the wallpaper found pasted in an old caravan I lived in for a summer. I had wanted to track the symmetrical, repetitive arrangement of the pattern, yet knowing the error of my eye and the inadequacy of my hand would lead the flowers to deviate from their regimented alignment to cause fluctuation, animation and disorder: an approximation of life. 35 HUGH GILLAN
Heap, 2013 Charcoal pencil on gesso, 43 x 47cm
This drawing depicts the remains of a demolished building partially covered in fog. While drawing I repeatedly broke down the surface with sandpaper and eraser and built it up again with charcoal. This continual process slowly eroded the fragile gesso ground, echoing the ruined environment I was looking at. The sanded away areas became the parts of the scene obscured by the mist. 36 TRICIA GILLMAN
Moment, 2014 Charcoal and oil pastel on cardboard, 40 x 43cm
Moment, made on a piece of torn cardboard box, is a material layering of fragments of thoughts, partial words, “now” marks, which evolve into a physical presence over time. It is an off-shoot from a series of large pencil drawings which seek to trap through each moment by moment mark or thought or word or process, some residue or deposit: a time map that represents the experience of just being here. 37 ELAINE GRIFFIN
Mementos, 2014 Graphite, Variable 7 A3 sheets
A series of drawings, memories, mementoes, dreams; clothes seldom or sometimes worn; keepsakes from cluttered shelves around the house, catching dust and temporarily forgotten. Some are gifts, heirlooms from the past or for the future – some just bought on a whim, a bargain from a charity shop. All these items, the flotsam and jetsam of the family house, have a past and story – some are authentic, some imagined. 38 MICHAEL GRIFFITHS
Spectrum, 2014 Charcoal and oil pastel, 39 x 44cm
The content of my drawings is generated as abstract imagery but the forms and language of mark-making that develop are intended to be analogies for human dispositions and interaction. In short, people-watching can be illuminating and fun, or even shocking or nasty, depending on what they are doing; but whatever they are doing tends to reveal something of the human condition and it is that that interests me and informs my work. I use drawing to pose questions, to explore possibilities and to make thinking visible. 39 BEN HART
A cleaner living space, 2014 Watercolour and pencil on paper, 50 x 67cm
Wallpapering the thoroughfares of Beijing, billboards advertising residential developments feature airbrushed renderings of luxury apartments and nature. ‘Let us build a cleaner living space’ is printed over a harmonious view of the area. Ubiquitous types of landscape imagery gloss over & promote the future of transitional sites, with an element of fantasy & idealism that often falls short due to reproduction glitches. I’m interested in staged experience & the limitations of imaging place. 40 ALAN HATHAWAY
Untitled 1, 2014 Watercolour on paper, 28.4 x 38.5cm
I tend to draw very quickly, so I end up with lots of drawings, most of which I discard. I am happy for the drawings to ‘stand alone’ but the relationships that develop between them have become an increasingly important aspect of their making. They are just as much independent as they are connected to other things that I make. 41 ALAN HATHAWAY
Untitled 2, 2014 Watercolour on paper, 28.4 x 35.8cm
I like the fact that there is an underlying complexity to these particular drawings, but that they appear simple and direct. Working in a very reductive way gives me a freedom to explore drawing, quite literally, as a way of thinking. 42 CHARLOTTE HODES
Grammar of Ornament: Proposition 19 Field of Squares II, 2014 Papercut, 80 x 103cm
This drawing is one of a series thirty-seven papercuts which are informed by the 1856 publication, The Grammar of Ornament by architect and designer Owen Jones. The papercuts correspond to, and are numbered according to each of the original thirty-seven propositions which form the ‘general principles in the arrangement of form and colour in architecture and the decorative arts’. Each proposition provided a starting point, with Proposition 19 focusing on Field’s Chromatic Equivalents. Importantly the female figure appears as a protagonist serving to undermine and disrupt the rigidity of the hierarchical system as presented by Jones. 43 STEPHEN HUNTER
Geometry set (12), 2014 Ink, pencil, poster paint and pastel, 52 x 45cm
This drawing is one of a set, which started with me thinking about what drawing is and how I make a decision about making a mark on a surface. It’s critical that art is useless. In a society based on profit and instrumentalism, there is something politically important about a human activity that records simple interactions between ourselves and the world. As a child, I was always excited about receiving a new geometry set before the start of school. Instruments meant to measure the world became the start of drawings made for the pleasure of pressing pen on paper. 44 JONATHAN HUXLEY
Breakdown, 2014 Charcoal on paper, 29 x 38cm
Breakdown appeared after covering the marks of a previously botched drawing. In hiding my mistakes I dragged a grey screen over the affair and continued to fumble about with broken bits of charcoal and a rubber, waiting for something to happen. First arrived a sort of oval white mark in the centre. It suggested an isolated vehicle. The hood popped open, or maybe the trunk. I say “trunk” because the vehicle had an American look but it was faint in the greyness. A slab of black for contrast became a figure. Somewhat lanky and bent. In attendance of what? A pick up? A drop off? For counter balance another black mark revealed a second figure. Turned away. A break in communications? A breakdown? 45 ALZBETA JARESOVA
Position XVI, 2014 Graphite on paper, 58 x 43cm
Position XVI is part of a series of works in which I explore the connection between history and memory. The architectural elements of my work function as a mnemonic device, a catalyst for remembrance, which investigates the metaphysical process of how fragmented memory can envelop and disorientate one’s reality. The structural forms point to architecture as a significant record of history and social development and speaks directly of our public awareness and aptitude towards political and social devices; interpretively drawing a transient place between private and public spaces. 46 AILEEN KEITH
Jetsam, 2013 Pencil, oil paint, collage and embossing, 67 x 87cm
Recording every detail of your life on digital gadgets could replace the need for biological memory. As an artist whose work considers the nature of recall, this possibility of saving every detail leaves me feeling ambivalent. Is it a positive or negative development? Is it desirable or just inevitable? Does more information bring clarity or, is our individual identity just as closely bound up with the selectivity of our naturally forgetful memory? Jetsam is one of a series exploring what remains in the mind and what is “thrown overboard”. Random, repetitive images form a tide-line in the fluid process of remembering or forgetting. 47 SHIVANGI LADHA
Shroud of sparrow, 2014 Pen on cloth, 250 x 81cm (detail illustrated)
I have been observing sparrows since my childhood and have a personal attachment with these little birds. Their recent population reduction made me ponder about the conditions which are leading to this decline. The process involved encounters with dead sparrows in the British landscape, working with them intimately while sharing the same physical space. The downfall in sparrow population provoked a feeling of loss and absence within. I used drawing as a medium to overcome this and also commemorate their valuable presence in this planet. 48 LAURIE LAX
Oblong (Parnidžio Kopa) – day two, 2014 Charcoal powder on sand (photo-documentation), 38 x 58cm
Homemade charcoal was produced from locally found driftwood, then powdered and sifted onto the giant Parnidžio sand dune during a residency at Nida Art Colony, Lithuania. The initially velvety-black charcoal sat on top of the undulating surface, forming a crisp black rectangle. Over the following few days the Baltic sea winds gradually removed the charcoal, revealing the patterned sand waves beneath. All that remains of the original drawing is photo-documentation. 49 ZOE MASLEN
The Absents Presence, Hair Drawing, 2014 Pencil drawing on Fabriano paper, 250 x 150cm
The Absents Presence, Hair Drawing is an articulation of the ephemeral presence. The indent you left on my bed, a hair on my pillow. My continuing practice investigates the reverberation of the unseen through documenting its evidence. Hair is a visceral reminder of a presence, provoking questions of the who or what it belonged to. Through giving these traces a human form we can finally acknowledge the presence, face to face. 50 KATE MORRELL
A.V.M. 1954 screenshot 2013-12-10 (1), 2014 Giclee print and drawing ink, 42 x 57cm
A.V.M, 1954, Screenshot 2013-12-10 (1) is part of a series of drawings made for the solo exhibition Pots before words (2014), which engages with the life and work of British writer and archaeologist Jacquetta Hawkes. This body of work explores the tensions between the subjective and objective in the interpretation and display of archaeological evidence. Selected from a 1950s television panel show, a series of prehistoric objects are offered for silent analysis. The images highlight the performative gestures for display and interpretation created by the handler. The scientific lens of the clinical close-up is indicated by detailed drawing. 51 SIGRID MÜLLER
Seed Pods, 2014 Coloured pencil on watercolour on board, 89 x 117cm
When I draw, I try to translate what I see into how it feels to the touch. It is purely emotional, something that resonates, stirs memories, often from childhood when judgment did not come before objects were thoroughly observed and experienced. The background is as important as the subjects themselves. It provides an imagined space where they can live – suspended with nothing to hold on to, or existing on seemingly firm ground. I choose intuitively, not searching, but coming upon, being stopped in my tracks by the promise in a closely furled bud or the dry rattle of a seed pod. 52 HITESH NATALWALA
Untitled 1, 2013 Charcoal and acrylic on collage, 44 x 37cm
With a great interest in ethnography and ‘other’ cultures, being from an ‘other’ culture myself, I set out in this set of works to create objects of fictitious mythical symbolism and veneration. Such objects have always fascinated me on visits to the now defunct Museum of Mankind and more recently the British Museum, as well as many other ethnographic museums around the world. 53 HITESH NATALWALA
Untitled 2, 2013 Charcoal and acrylic on collage, 44 x 37cm
I have tried to render these imaginary objects to reflect the ways and means of Ethnographic cultures such that if they were real objects they would be constructed in natural materials such as wood, shells, twine and animal skin for instance rather than marble or bronze. Ultimately, like much of my work, having lost touch with my own original ethnographic origins, being of Indian background, born in Africa and having lived in England since the age of 4 (with a recent 10 year stint in Australia), I am attempting to fill the void that this loss has left in me. 54 PETER OLE RASMUSSEN
4 bears, 3 standing, one bending down, 2013 Oil on paper, 79 x 66cm
4 bears, 3 standing, one bending down is part of an on-going series of drawings and paintings with the umbrella title Running bears that explores relationships: human, animal, abstract, figurative. The drawings set up visual dialogues through chance juxtaposition and recurring motifs. The series began at the end of 2008 with the memory of an original black and white drawing by Hanna and Barbera for the American television cartoon Yogi Bear. 4 bears takes its inspiration from images of street youth around the world. 55 KATIE SOLLOHUB
Quantum life, 2014 Charcoal on paper, 49 x 59cm
I like to draw the stuff around me, the everyday, the things in my studio. Whilst drawing, I observe the character of the objects, and notice the spaces between them. 56 KATIE SOLLOHUB
On the edge, 2014 Charcoal on paper, 49 x 57cm
Once drawn, certain objects in the drawing seem to vibrate, as if something has just happened, or is about to happen: a table and chair quiver as they meet, like dogs, tails alert; something balances, just about to fall. These are not quite still Still Lives. 57 LEXI STRAUSS
Plan B, 2013 Acrylic on paper, 50 x 60cm
Inspired by a 1970’s documentary, this image relates to an ongoing narrative, The Vulnerable Party. This is one of the many specious, fluid, personal fictions derived from interviews or imagination, through which I explore the complexity of our interactions with belief systems and processes of individuation. The Vulnerable Party concerns the search for a supremely divine clown leader – humane, genuine and open, with strengths and weaknesses exposed. It’s also a personal journey, a process of individuation, which will ultimately atomise the political party, or movement, thus reducing it to a one-person campaign, without cabinet or voters. Works created around such narratives may also eventually be ventriloquised. Light projection and sound can allow subjects or objects within my paintings to breathe, interact, sing and narrate tales individually or collectively, conveying concepts beyond language or imagery. 58 SALLY TAYLOR
Confused Head 27, 2014 Posca pen and paper collage on found book cover, 40 x 34cm
My drawings affirm a desire to understand more about human relationships, specifically my own interaction with others. They are equally about forming a balance between formal concerns in relation to the communication of emotional resonance. Recent work has developed into an investigation of the dynamics of social groups – particularly how hierarchies emerge, how roles are assumed and behaviours are managed. The work aims to investigate these processes that appear to be rooted simultaneously in latent predispositions; revealing ‘unknown’ and unpredictable subjective experiences. Recurring motifs of triangles and ‘smiling mouths’ aim to explore Louise Bourgeois’ statement ‘triangles mean danger’ alongside social constructs surrounding the unsaid and non-verbal interaction. 59 KATY WALLWORK
Crusade (rambergering) Plaster and pigment, 15, 25cm
Crusade (rambergering) is part of an ongoing series of sculptural drawings which re- appropriate homoerotic and rebellious elements from historical prints and paintings. Based on the etching Swain with Two Nymphs and a Landscape by Johann Heinrich Ramberg. 60 DIANE WELFORD
Eavesdropper, 2014 Sunlight drawing, 38.5 x 31cm
Eavesdropper takes place in secret, listening into the private and unknown without gaining permission, taking with it newly acquired information that may never have come to light. Eavesdropper draws parallels with our ability to perceive things through a different state of awareness. 61 DANIEL WHEELER
J’arrive, 2014 Carbon on paper, 91 x 72cm
“…The present has become the more important, if not the more meaningful, because the future has lost its characteristic as a dimension different from the present… Youth has been robbed, therefore, of the full experience of the dramatic transition from adolescence to adulthood and of the dramatisation of the difference between present and future.” Archetypal Patterns of Youth (1956) S. N. Eisenstadt 62
ARTISTS’ BIOGRAPHIES
BONITA ALICE (b.1962 Johannesburg, Arts, Normandy (2013); Royal Society of South Africa) studied BA Fine Art at British Artists Residency at The British the University of the Witwatersrand, School at Rome (2010) and The Haworth Johannesburg (1984), and MFA at the Trust Award for Painting (2009). She lives Michaelis School of Art, University of and works in London. Cape Town (1990). Selected group exhibitions include: Sao Paulo Bienal (2002) and A.R.E.A. – Art Region End of ALAN BOND (b. 1946 Swindon, UK) Africa, Reykjavik Art Museum, Iceland studied Fine Art at Bath Academy of (2000). Solo exhibitions include: Beast Art, Corsham (1965-68) and at Chelsea in a Dangerous Landscape, Gallery AOP, School of Art (1968-69). Awarded a Johannesburg (2012), Beast at Home, fellowship at Gloucestershire College of Gallery AOP, Johannesburg (2010), Art (1969-70). Selected group exhibitions Anticipated Memory, Gallery AOP, include: Hidden Door Festival, Edinburgh Johannesburg (2007). She lives and (2014); Supermarket, Kulturhuset, works in London. Stockholm (2010); Becks Fusions, Contemporary Art Society, Manchester (2008); The Stars Down to Earth, Nunnery IAN ANDREWS (b. 1959 Tilbury, UK) Gallery, London (2006). Solo exhibitions studied MA painting at Royal College include: Tin Sheds and White Horses, of Art (1985). Solo exhibitions include: Rabley Drawing Centre, Marlborough Rummage out, find by violence searching, (2010); Vernacular, Seven Seven Terrace Gallery, Great Western Arcade, Contemporary Art, London, (2008). Recent Birmingham (2012). Collaborations prizes include: The Deloitte Prize, Scottish include: Babelling: The Art of Rat Catching, Society of Artists Open, RSA, Edinburgh ARTicle Gallery, Birmingham City University (2012). He lives and works in Edinburgh. (2013); Babelling, Sluice Art Fair, Bermondsey, London (2013); Coughing Fit, with Paul Newman, Gas Street, JESSIE BRENNAN (b. 1982 Plymouth, Birmingham (2012). Group exhibitions UK) studied MA Printmaking at the Royal include: Invasion, AE Harris, Stan’s Café, College of Art, London (2005-07). In Birmingham (2012). He lives and works in 2009 Brennan received a Postgraduate the West Midlands. Certificate in Learning & Teaching in Art & Design CLTAD, University of the Arts, London. Selected exhibitions include: JEMMA APPLEBY (b. 1987 London, UK) Progress, The Foundling Museum, London studied BA Fine Art at City and Guilds of (2014); Interchange Junctions, HS London Art School (2006-09). Selected Projects, London (2014); Oriel Davies group exhibitions include: Perfectionism: A Open, Oriel Davies Gallery, Wales (2014); Method of Practice, Griffin Gallery, London Adrift on Life’s Tides, Rochester Art Gallery, (2014); Under The Greenwood, St Barbe Kent (2013); Coup de Ville, Sint-Niklaas, Museum in association with Southampton Belgium (2013); Cities & Eyes, Marian City Art Gallery, Hampshire (2013); The Cramer Projects, Netherlands (2012). Threadneedle Prize, Mall Galleries, London Recent awards include: Contemporary (2010). Solo exhibitions include: Holon Talents 2012 Winner (Drawing Category), 1:14.013, Meantime, Cheltenham (2012). François Schneider Foundation, France Recent prizes include: Chateau de Blavou (2012); Artists’ International Development Residency in association with Forum des Fund, Arts Council England, UK (2013); 63
Second Prize, Jerwood Drawing Prize MARK CAZALET (b. 1964 London, UK) (2011). Recent projects commissioned by: studied BA Fine Art at Falmouth School The Foundling Museum, London (2014); of Art (1983-86); French Government Art on the Underground, London (2012, Scholarship to L’Ecole des-Beaux-Arts 2009); SPACE, London (2011). She works Nationale Superieure Paris (1986-87); around the UK and lives in London. Association of Commonwealth Universities Postgraduate Scholarship to MS University of Baroda, Gujerat, West India (1988- ALISON CARLIER (b.1971 Epsom, UK) 89). Selected group exhibitions include: studied BA Fine Art at The University for the Derwent Art Prize, London (2014); Insights Creative Arts, formerly The Surrey Institute into British Art Today, Kunstsammlungen of Art and Design (1999-02); MA Drawing des Bistums, Regensberg, Germany at Wimbledon College of Art (2011-13); and (2011). Solo exhibitions include: BSc in Occupational Therapy from Coventry Metaphysical Landscapes; Snape Maltings University (1990-93). Selected group Gallery, Aldeburgh (2012); A Plot of Ground, exhibitions include: Drawn on Site Pop Up Beardsmore Gallery, London (2010); Residency, Dorking (2013); Drawing Show, Everyday Epiphanies, Beardsmore Gallery, The National Gallery, London (2013); Stuff London (2008). Recent awards include: on Walls, Centre for Drawing, Wimbledon Artist in residence at The Josef and Anni College of Arts (2011). Projects include: Albers Foundation, Connecticut (2012-13); The Drawing Attitude (2013) and Lens on Artist in residence at The Rekha Rodwittya Life, with Ackroyd and Harvey (2014). She and Surendran Nair Studio Baroda (2010). lives and works in Dorking. He lives and works in London and Suffolk.
SARAH CASEY (b. 1979 Cheshire, UK) ALEX CHALMERS (b. 1973 Chester, studied Art Foundation at Liverpool Art UK) studied BA Fine Art at University of School (1997-08); BA History of Art, Newcastle (1993-97); Architecture at History & Philosophy of Science at the Architectural Association (2000-06); MFA University of Leeds (1998–01); MA Fine at ALT-MFA (2012-present). Selected Art at Lancaster University (2007–08) group exhibitions include: In Search of the and was awarded a PhD in Fine Art at Miraculous, Floating Island Gallery, London Lancaster University (2012). Selected (2014); Paper Bag (Bermondsey Artists’ group exhibitions include: Darkness at Group), Cafe Gallery, London (2013); the Edge, Propeller Visual Arts Centre, Circuit, Dreamland, Margate (2011). He Toronto, Canada (2013); Sketch Drawing lives and works in London. Prize, Rabley Drawing Centre, Marlborough (2013; 2011); Paperworks 3: British Artists working with paper, Bury Art Gallery ARA CHOI (Eunju Choi) (b. 1985 Busan, and Museum, Bury, UK (2010). Solo South Korea) studied BA Printmaking exhibitions include: Common Grounds: at University of Hongik, South Korea Lace Drawn from the Everyday, The Bowes (2007-11); MFA Fine Art at Wimbledon Museum, County Durham, UK (forthcoming College of Art (2012-14). Selected group 2015); Hidden Drawers, Kensington exhibitions include: Chain Re:Action, Palace, London (2013); Drawing the Menier Gallery, London (2013); Threads, Delicate, Peter Scott Gallery, Lancaster Rag Factory, London (2013); Disrupted, (2012). Recent prizes include: AHRC Crypt Gallery, London (2014). She lives Science in Context Award with Dr Rebecca and works in London. Ellis and Dr Kostas Dimopoulos (2014); Public Award, 5th International Drawing Biennale, Australia (2010). She lives and works in Lancaster. 64
DAVID COOPER (b. 1972 West Yorkshire, Design (2013-15). Artist in Residence UK) studied BA Fashion at John Moores for Chelsea Community Hospital School University (1991-94); MA Fashion at (2004-present). Public art commissions Central Saint Martins (1994-96). Selected include: Suffolk National Heritage, Chelsea group exhibitions include: Hot One Hundred, and Westminster Hospital, Royal Brompton Gallery Schwartz, London (2013); Punk and Harefield Hospitals, London Red Cross Salon, Gallery Schwartz, London (2013); Charity, Birmingham Heartlands Hospital, East Sussex Open, Towner, Eastbourne RB&Harts. International collaboration (2013). Solo exhibitions include: Heads projects with The British Council in schools Have Holes Have Heads, Gallery 40, in Gaza, Finland, Italy, Iceland and Poland. Brighton (2012); Think Tank No.5, 38 He lives and works in London. Cheltenham Place, Brighton (2012). He lives and works in London SUSANNAH DOUGLAS (b. 1981 Belfast, UK) studied MA Fine Art at Wimbledon DAVID REES DAVIES (b. 1953 Bridgend, College of Art (2009-10); BA Fine Art South Wales) studied BA at Manchester at Falmouth College of Art (2000-03). Polytechnic (1972-76); Royal College of Selected group exhibitions include: Art, London (1976-79). Selected group Party Favours, Paper Gallery, Manchester exhibitions include: Welsh National, (2014); The Griffin Art Prize, London (2013- Eisteddfod (2009; 2011-12; 2014); East 14); Jerwood Drawing Prize (2013). Solo Sussex Open Exhibition, Towner Gallery, exhibitions include: Palindrome Diptych, Eastbourne (2014); Jerwood Drawing Prize Motorcade Flashparade, Bristol (2010). (2007; 2009); Kyffin Williams Drawing She lives and works in London. Prize, Anglesey (2009; 2012); Nature Morte, Kharkiv City Art Gallery, Ukraine (2009). Solo exhibitions include: The HANNAH DOWNING (b.1985 Swansea, Swear Bucket, The Falling Pilot & The UK) studied BA Fine Art: Painting and Avenging Hare, East West Gallery, London Drawing at Swansea Metropolitan (2011). Works held in the collection of The University (2005-08). Selected group Scottish Arts Council, British Council and exhibitions include: Kyffin Williams Norfolk City Museum and Art Gallery. He Drawing Prize, Oriel Ynys Môn, Anglesey lives and works in Hove, East Sussex. (2012); No No, I Hardly Ever Miss a Show, Zach˛eta National Gallery of Art, Warsaw (2011); A Thing About Machines, The MICHAEL DITCHBURN (b. 1991 London, Herbert, Coventry (2009). Solo exhibition: UK) studied BA Drawing at Camberwell Panorama, The Last Gallery, Llangadog College of Art (2010-13). Selected (2013). Recent prizes include: Oriel Davies group exhibitions include: The day Job, Open, People’s Choice Prize (2014); BEEP Hoxton Basement, London (2014); Draft, Painting Prize, First Prize (2012). She lives Bussey Building, London (2012); BA:SE, and works in Swansea. Shoreditch Townhall, London (2012). Residencies: Harris Morden Academy (2013-14). Shortlisted for: Sainsbury SARA DUDMAN (b. 1964, Scholarship, British School at Rome Cambridgeshire, UK) studied BA Fine Art (2014) and Drawing Residency, V&A at Loughborough College of Art and Design (2014). He lives and works in London. (1984–87); MA Design and Manufacture at De Montfort University (1996-97). Selected group exhibitions include: Sunday SHAUN DOLAN (b. 1969 Suffolk, UK) Times Watercolour Competition, Mall studied BA Hons Public Art & Design Galleries, London (2013; 2014); ArtWorks at Chelsea College of Art & Design Open, Barbican Arts Group Trust, London (1993-95) and is currently studying MA (2014); ArtGemini Prize 2013, Rebecca Drawing at Wimbledon College of Art & Hossack Gallery, London, (2014). 65
Solo exhibitions include: Welcome Sight, ANNETTE FERNANDO (b. 1991 London, Regal Theatre, Minehead, Somerset UK) studied BA Fine Art at Central Saint (2012); Walking Meditation, The Bomb Martins, University of the Arts London Shelter, Beer, Devon, (2010). Recent (2011-14). Selected group exhibitions prizes include: REAL SOMERSET, First include: Print/3, Arcane Gallery, London Prize, A2 Gallery, Wells, Somerset (2014); (2014); Jerwood Drawing Prize (2013); Thelma Hulbert Open 2014, First Prize, Central Saint Martins Group Show, Camden Thelma Hulbert Gallery, Honiton, Devon Arts Centre, London (2013). Solo exhibitions (2014); John Singer Sargent Open, include: Recent Etchings by Annette Broadway Arts Festival, Little Buckland Fernando, The Looking Glass, London Gallery, Broadway, Gloucestershire (2014). (2013). She lives and works in London. She lives and works in Somerset.
FREYA GABIE (b. 1984 Taunton, UK) GARY EDWARDS (b. 1960 Sussex, UK) studied BA Sculpture at Chelsea College studied Graphic Design at Eastbourne of Art and Design (2004-07); and MA College of Art and Design (1977-80). Sculpture Royal College of Art (2014). Group exhibition: Royal Academy Summer Selected group exhibitions include: Exhibition, London (2013). He lives and WorkWeek, Casket Gallery, Minneapolis, works in Brighton. USA (2013); Extra-Ordinary, Departure Foundation, London (2013); Gilchrist Fisher Landscape Award, Rebecca Hossack HILARY ELLIS (b.1948 London, UK) Gallery, London (2012). Selected solo studied BA Fine Art at Liverpool John exhibitions include: Undone/Retold, Styx Moores University (1993-96); MA in Gallery, Berlin (2011); Vestige, Installation Printmaking Camberwell College of Art in an empty tower block flat, West Glasgow, (2005-07). Selected group exhibitions Scotland (2010); Desire-Lines, Meantime include: London Group Exhibition, Menier Project Space, Cheltenham (2009). She Gallery, London (2007); ING Discerning Eye lives and works in London. Exhibition, Mall Galleries, London (2009); Fabricate, Leyden Gallery, Shoreditch, London (2013). Solo exhibitions include: HUGH GILLAN (b. 1972 Alexandria) studied The Order of Things, Liverpool Biennial, BA Fine Art at Glasgow School of Art (1991- University of Liverpool Art Gallery (1999); 95). Selected group exhibitions include: Paperworks, Southport Arts Centre, Salon 12, Matt Roberts Arts, London Southport (1999); A Whiter Shade of (2012); Blank 09, Inside Out, Beijing (2009); Pale, Frameless Gallery, London (2010). Creekside Open, A.P.T Gallery, London Recent prizes include: The Artichoke Print (2009); Exquisite Decay/ Desintegration Workshop Prize (2007), Edward Ardizzone Exquise, Chateau D’Alba La Romaine, Award (2007) and Intaglio Printmakers Montelimar (2009); Jerwood Drawing Prize Award (2009). She lives and works in (2003). Solo exhibitions include: Familiar Canterbury, Kent. Territory, Compass Gallery, Glasgow (2003). He lives and works in Glasgow.
UTA FEINSTEIN (b. 1968 Cologne, Germany) currently studying BA Fine TRICIA GILLMAN (b.1951 Johannesburg, Art at the University of Nottingham South Africa) studied BA Fine Art at (2010-present). Forthcoming exhibitions Leeds University and MFA at Newcastle include: Carnival of Monsters 2014, University. Selected group exhibitions Festival of Contemporary Art, Nottingham include: John Moores, Liverpool (1983; (2014). One of her drawings was recently 1985; 1989; 1992); Serpentine Summer shortlisted for the Cedric Ford Art Prize Show, London (1983); RA Summer (2014). She lives and works in Nottingham. Exhibition, London (1983-2014). Solo shows include: Arnolfini, Bristol; Storey Gallery, Lancaster; Lemon Street Gallery, Truro. She lives and works in London. 66
ELAINE GRIFFIN (b. 1951 London, UK) ALAN HATHAWAY (b. 1968 London, UK) studied BA Visual Communication, Bath studied BA Fine Art, Painting at Leeds Academy of Art (1975-77); MA Fine Art, Polytechnic (1987-90); MA Drawing at University of Wales Institute, Cardiff Wimbledon School of Art (2004-05). (1993-95). Selected group exhibitions Selected group exhibitions: Our idea of include: Bath Society of Artists, Bath Fun, 36 Lime Street Gallery, Newcastle (2002); RWA, Bristol (2005); Off-Centre upon Tyne (2014); What Condition Our Gallery, Bristol (2008). Solo exhibitions Condition Is In, Gallery North, Newcastle include: The Cathedral Church of the upon Tyne (2012); Ours, The Centre for Holy and Undivided Trinity, Bristol (1995); Drawing, London, (2005); Instrumental, Bristol South Swimming Pool (1995); Space 44, London (2004). He lives and Southbank Arts Trail, Bristol (2014). She works in Newcastle upon Tyne lives and works in Bristol.
CHARLOTTE HODES (b.1959 London, UK) MICHAEL GRIFFITHS (b. 1951 London, studied at Brighton College of Art (1977-78); UK) studied BA Hons Fine Art at Brighton BA Fine Art (1978–82) and Higher Diploma Polytechnic (1973-76); Postgraduate in Painting at the Slade School of Fine Art Diploma in Printmaking at Brighton (1982-84). Selected group exhibitions Polytechnic (1976-77); Elected Member include: Glasstress: White Light/White Heat, of Newlyn Society of Artists (NSA) (1999); Berengo Centre for Contemporary Art and Elected Member of Royal Society of Glass, Murano, Venice Biennale (2013); Painter-Printmakers (RE) (2001). Selected Derwent Art Prize, Mall Galleries, London group exhibitions include: The Sex (2013); Inscription: Drawing/Making/ Lives of the Poor and Unknown, Tallinn, Thinking, Jerwood Space, London Solo Estonia (2012); Three Galleries, Newlyn exhibitions include: Grammar of Ornament, Society of Artists, Cornwall (2009); jaggedart, London & New Hall Art Collection, Welsh Contemporaries, Catey Hillier Fine Cambridge (2014); Silhouette & Filigree, Art, West Square, London (2007). Solo Marlborough Gallery, London (2009); exhibitions include: Habitus: Recent Fragmented Images, Wallace Collection, Drawings, Atrium Gallery, Bournemouth London (2007). Recent prizes include: University (2009); The Link Gallery, Jerwood Drawing Prize, First Prize (2006). University of Winchester (2002); White She lives and works in London. Gallery, Brighton (2001); Pallant House Gallery, Chichester (2000). He lives and works in Dorset. STEPHEN HUNTER (b. 1964 Greenock, Scotland) studied Tapestry at Edinburgh College of Art (1982-86); Post Graduate BEN HART (b. 1990, Isle of Wight, UK) Diploma at Edinburgh College of Art studied BA Fine Art at Central Saint (1986-87). Selected group exhibitions Martins (2009-13). Selected group include: Representing the UK at Lodz exhibitions include: Sunday Times Textile Art Triennale, Poland (2010); In Watercolour Competition, Mall Galleries, Perspextive, Royal Scottish Academy London (2013); Feedback, Concourse Gallery, Edinburgh (2013); Land & Sjór, Gallery, London (2013); forthcoming Gallerie Dynjani, Iceland (2010). He has show with Esme Toler (2014). Solo had solo exhibitions in the UK, Lithuania exhibitions include: Other People’s Place, and Ukraine. His work is in private and Platform China, Beijing (2012); Defurbish, public collections in the UK, Poland, USA, Heiqiaocun Space, Beijing (2012). Prizes Ukraine and Lithuania. Recent prizes include: Artquest Widening Participation include: 13 Mi˛edzynarodowego Triennale Award with Studio Voltaire (2014); Award Tkaniny, Highly Commended (2010) and for Painting, Central Saint Martins (2013). various awards from the Scottish Arts He lives and works in London. Council and Edinburgh Council. He lives and works in Edinburgh. 67
JONATHAN HUXLEY (b. 1965 London, SHIVANGI LADHA (b. 1991 Gwalior, India) UK) studied Royal Academy Diploma, studied Bharatnatyam Classical Dance, Royal Academy of Arts, London (1989- Senior Grade Level 2 at Ahmedabad 92); BA Hons Fine Art, Trent Polytechnic, University, India (2003-08); BFA Painting Nottingham (1986-89). Selected group at College of Art, Delhi University, India exhibitions include: Art Paris, Grande (2008-12); MFA Fine Art at Wimbledon Palais, Paris (2014); The Bermondsey College of Art, University of the Arts Art Takeaway Pop Up, London (2014); Art London, London (2012-14). Selected Blind, Cologne (2013). Solo exhibitions group exhibitions include: Threads, Rag include: Sons Arts Festival, 20th Factory, London (2013); Chain Reaction, Anniversary, Olomouc, Czech Republic Menier Gallery, London (2013); Disrupted, (2014); Less Than Zero, Waltman Ortega Crypt Gallery, London (2014); She lives Fine Art, Miami (2013); Multiplex, Crane and works in London. Kalman Gallery, London (2012). Prizes include: Art Blind, The Public Prize (2013). He lives and works in London LAURIE LAX (b. 1987 Canterbury, UK) studied BA Hons Fine Art at Bath School of Art & Design (2007-10); Foundation ALZBETA JARESOVA (b. 1987 Prague, in Art & Design at University College for Czech Republic) studied BFA Fine Art at the Creative Arts, Canterbury (2006- Concordia University, Montreal, Canada 07). Selected group exhibitions include: (2006-09); MA Fine Art at Camberwell On Landscape Project, Guest Projects, College of Arts, University of the Arts London (2014); Voyage: London (2011–12). Selected group sea Journeys, island hopping & trans- exhibitions include: New Artists, Gallery oceanic concepts, Künstlerhaus Youn, Montreal, Canada (2014); The Dortmund, Germany (2013); A Drover Future Can Wait, in collaboration with Turns the Cattle, Monster Truck Gallery, Channel 4 and Saatchi Gallery’s New Dublin (2011). Residencies include: Sensations exhibition, Victoria House, Merz Barn, supported by a-n The Artist London (2013); Griffin Art Prize Shortlist Information Company, UK (2014); Nida Exhibition, Griffin Gallery, London (2012). Art Colony, Lithuania (2014); Cow House Solo exhibitions include: A Catalyst for Studios, Ireland (2010). She lives and Remembrance, Griffin Gallery, London works in Bristol. (2013). Recent prizes include: Griffin Art Prize, First Prize (2012). Her work has been featured in the Catlin Guide (2013) ZOE MASLEN (b. 1992 Milton Keynes, and the 100 London Artists iBook (2013). UK) graduated with a First Class Honours She lives and works in London. in Fine Art from Oxford Brookes University (2011-14). Selected group exhibitions include: ISIS, Truman Brewery, Brick AILEEN KEITH (b. 1953 Johnstone, Lane, London (2014); REPLAY, OVADA Scotland) studied Fine Art at Edinburgh Warehouse, Oxford (2014); PLAY Oxford College of Art; Sculpture and Drawing Brookes Degree Show, Richard Hamilton (1979); and Postgraduate Diploma (1980). Building & The Glass Tank Gallery, Oxford Selected group exhibitions include: (2014). She lives and works in Milton Installations and Drawings, Finland Keynes (1998); Ladies Room, Collective Gallery, Edinburgh (1999); Transistors, Morioka Hashimoto Museum of Art, Japan, Royal KATE MORRELL (b. 1983 Leeds, UK) Scottish Museum, Edinburgh, Trojems graduated with an MA from the Royal Kunstforening, Trondheim, Norway (2000). College of Art (2010). Selected group Solo exhibitions include: Default : Delete, exhibitions include: Pots before words, Arts Complex, Edinburgh (2010). She lives Gallery II, University of Bradford (2014); and works in the Scottish borders. London Art Book Fair, Whitechapel Gallery, 68
London (2012-13); Sublime Transactions, paintings, Raumx, London (2013); In The Armitt Museum, Ambleside, Cumbria the penalty area, Campden Gallery, (2012); 2HB: What we make with words, Gloucestershire (2010). Selected group Centre for Contemporary Arts, Glasgow exhibitions include: RE and RWS Summer (2011). Prizes include: Man Group Exhibition, Bankside Gallery, London Drawing Prize, Second Prize (2010); AGYU (2013); Panel Paintings, Eagle Gallery, Artists’ Book of the Moment Prize, The Art London (2013); Bite: Artists Making Print, Gallery of York University, Toronto, Canada, Mall Galleries, London (2012). Selected Shortlisted (2014). Her recent book work, awards include: Bite: Artists Making Print Alpine Spoilers, was acquired by the Tate Exhibition, RE Award (2012); Kirsten Kjaers Gallery. She lives and works in London. Museum Residency, Jutland, Denmark (2005); Fundacion Valparaiso Residency, Almeria, Spain (1999). He is represented SIGRID MÜLLER (b. 1962 Schwäbisch by Emma Hill, Eagle Fine Art, London. He Hall, Germany) studied Diploma in lives and works in London. Graphic Design at the Georg Simon Ohm University of Applied Sciences Nuremberg, specialising in illustration (1985-91). KATIE SOLLOHUB (b. 1969 Winchester, Selected group exhibitions include: UK) studied BA Social Anthropology at London Art Fair, London (2013; 2011); University of Sussex (1989–92); HND 20/21 British Art Fair, London (2012). Fine Art at Northbrook College, Worthing Solo exhibitions include: Martin Tinney (1999-2001). Selected group exhibitions Gallery, Cardiff (2010; 2004; 2001). Her include: RA Summer Show, Royal Academy, work was purchased by the Derek Williams London (2014); 20 Painters, Phoenix Trust for the National Museum of Wales Gallery, Brighton (2014); Ruth Borchard (2001). She lives and works in Gower, Self-Portrait Exhibition, Kings Place South Wales. Gallery, London (2011). Solo exhibitions include: Turner’s House, London (2014); Hop Gallery, Lewes (2012); Shoreditch HITESH NATALWALA (b. 1964 Nairobi, Gallery, London (2004). Recent prizes Kenya) currently studying for a PhD, Curtin and awards include an ACE grant for Artist University, Perth (2010-present); P.G.C.E. in Residence project at Turner’s House in Art and Design, Department of Art & Twickenham (2014-15); and winner of Design, London University (1992-93); the Cranleigh Open (2010). She lives and BA Hons Fine Art at St Martins School works in Shoreham by Sea, West Sussex of Art, London (1986-89). Selected group exhibitions include: Sydney Art Fair, MARS Gallery, Melbourne (2013); LEXI STRAUSS (b.1977 Nottingham, UK) Ad Infinitum, Gallery Nature Morte, New studied BA Fine Art at Hereford College Delhi (2010); Urban Myths and Modern of Art (2009-11) and MA Painting at Fables, Doris McCarthy Gallery, Toronto, Royal College of Art (2012-14). Selected Canada (2008). Solo exhibitions include: group exhibitions include: John Moores, Lets Go!, Gallery Reis, Singapore (2011); Walker Gallery, Liverpool (2014); Exeter Paksploytation, Gallery Barry Keldoulis, Contemporary Open, Pheonix Arts Centre Sydney (2009); a lack of marmalade was (2014); Anthology, Charlie Smith gallery, my only real grievance, Chatterjee & Lal, London (2013). Solo exhibitions include: Mumbai (2009). Prizes include: ABN Amro Empty Chairs at The Institute of Art and Emerging Art Prize, Sydney (2006-07). He Ideas, The Globe, Hay on Wye (2013). lives and works in London. An exhibition is currently being planned (2015) at MAC, Birmingham. Recent prizes include: a nomination for Saatchi New PETER OLE RASMUSSEN (b. 1954 Sensations (2014); bursary award from the London, UK) studied BA Fine Art, Painting at Elmley Foundation (2012-13); Windsor and Chelsea School of Art (1972-77). Selected Newton Scholarship at the Royal College of solo exhibitions include: Disparates, Art (2012). She lives and works in London Eagle Gallery, London (2014); DVH panel and the West Midlands. 69
SALLY TAYLOR (b. 1977 Bury, Lancashire) DANIEL WHEELER (b. 1976 Pontefract, studied BA Fine Art: Practice & Theory UK) studied BA Fine Art at Chelsea (1995-98); MA Studio Practice at College of Art (2010-13). He lives and Lancaster University (1999-2000). works in Southend. Selected group exhibitions include: Derwent Art Prize 2014, Mall Galleries, London and tour (2014); Paint Like You Mean It, Interview Room 11, Edinburgh (2014); Sketch 2013, Rabley Contemporary Drawing Centre, Wiltshire and UK tour (2013-14). Solo exhibitions include: Confused Heads, Duckett and Jeffreys, North Yorkshire (2013); All Say The Same, Ryedale Folk Museum, North Yorkshire (2011); Marks and Mouths, PS2, mima – Middlesbrough Institute of Modern Art (2010-11). Work included in Drawing Paper #6, co-curated with Tate Liverpool to coincide with the Liverpool Biennial (2012); Jerwood Drawing Prize (2011; 2009; 2004). She lives and works in North Yorkshire.
KATY WALLWORK (b.1986 London, UK) studied BA Hons Sculpture and Environmental Art at the Glasgow School of Art (2007-11). Selected group exhibitions include: CHANCE//ACTION, Kingsgate Trust, London (2013); PRISM 10 (Celebration), The Orchard Centre, Sheffield (2011); NO FOOD NO DRINKS NO STICKY LOLLIES, Stattbad Wedding, Berlin (2010). She lives and works in London.
DIANE WELFORD (b. 1967 Middlesbrough, UK) studied BA Fine Art at Cleveland College of Art and Design (1996-00); MFA Fine Art at the University of Newcastle (2001-03). Selected group exhibitions include: Sluice Art Fair, London (2013); Jerwood Drawing Prize (2010); Northern Graduates, New Academy Gallery and Curwen Gallery, London (2000). Solo exhibitions include: Materialising Thought, Domino Gallery, Liverpool (2012); Seeing in a Different Light, Platform 1a, Middlesbrough (2010); A Space that Exists Just for Listening, Liverpool Hope University, Liverpool (2006). She was nominated for The Northern Art Prize (2010). She lives and works in Redcar. 70
ACKNOWLEDGEMENTS
The Director of the Jerwood Drawing Prize The 2014 Regional Collection and the Jerwood Charitable Foundation Centres, their Representatives and would like to thank everyone who has the Transportation Team contributed to the origination of the The staff at Wimbledon College of Art, Jerwood Drawing Prize 2014 exhibition. University of the Arts London; Dan Young and Abbie Phillips, University of In particular: Gloucestershire; Annabelle Evans, Claire Project Management, Marketing and PR, Chalmers, Oisin Gallagher and Sarah Parker Harris. Sheard, Edinburgh College of Art; Carl Selection Panel Coordinator & Rowe, Mihaela Colibasu, Joseph Doubtfire Co-founder, Paul Thomas and Lloyd Smith, Norwich University of the Arts; Richard Talbot, Sofija Sutton and Chief Technician, Marc Thomas Kathryn Brame, Newcastle University; Jerwood Visual Arts, Sarah Williams, Kerry Harker, Miriam Thorpe and the team Hannah Pierce, Oliver Fuke, Lauren at The Tetley, Leeds; David Tinkham, Houlton, James Murison and Nick Tudor Sophia Sample, Abigail Payne, Sue Handley-Merrick and Jacqueline Anderson, The 2014 Team of Handlers and Bath School of Art and Design, Bath Spa Administrators University; Hannah Jones, Leah Harris, Nancy Allen, Gayathri Anand, Alvin Babbea, Paul Hillon, Andy Cluer, Reiss Portman, Charlotte Bain, Phoebe Baines, Sophie Jem Williams and Charlie Wildy, Plymouth Birch, Marion De Saint Blanquat, Natalia College of Art; Art Moves of Chelsea, Boteva, Marta Calosci, I´nes Càmara Picture Post and South Hams Express. Leret, James Collins, Gavin Edmunds, Ben Edmunds, Mary Furniss, Barney The 2014 Tour Partners and their Gammond, Eliza Garvin, Alice Gray, Victoria Representatives Grenier, Charlotte Hawkins, Harriet Horner, Cheltenham Art Gallery and Daniel Johnston, Sultan Kinns, Freya Museum: The Wilson Lester, Liza Mackintosh, Nick Macneil, Ella The Tetley, Leeds MacVeigh, Kieron Marchant, Francesca The Gallery, The Arts University at Mollet, Gareth Morgan, Rosa Nussbaum, Bournemouth Sarah Palmer, Abigail Payne, Helen The Burton Art Gallery and Rawlins, Moira Salt, Jhih-Ren Shih, Georgia Museum, Devon Sowerby, Ala Tayebi and Tabitha Wilson.