9 Feb 2016
Here you can find a selection of blog posts about the exhibition Performing Drawology
RECAP DAY ONE
Taken from Monday 8 February: John performs ‘durational drawing’ in the space, using charcoal and a black marker.
Join us from 2 pm – 3 pm today in the Gallery, for an open discussion with John.
Last week, 80 five and six year old’s from West Bridgford Infant School contributed to a collaborative drawing, inspired by our current exhibition, Performing Drawology. Led by Holly Mills, Ana Souto and Anja Bendix (academic staff from the School of Architecture, Design and the Built Environment at NTU), there were three drawing sessions, consisting of 20 minutes each and approximately 25 children.
The first class used black pen to draw on four pieces of paper four metres long. Classical music was also played, which some of the pupils responded to:
The second class then used oil pastels to colour in some of the shapes drawn by the first class, and the third group used paint sticks to colour in the shapes and add more lines:
These drawings will be exhibited in the Atrium Space at the Performing Drawology closing event on Thursday 11 February 2016 from 5 pm – 8 pm, along with drawings created by Architecture and Interior Architecture students from NTU. If you’d like to attend the Performing Drawology closing event, simply RSVP via email to confirm your attendance
Recently, we invited our invigilators (who are all current students here at NTU) to contribute to the blog. Here’s the first piece – written by third year BA (Hons) Fine Art student, Reece:
This remnant artwork has existed OVER my head for nearly three years.
(‘If these walls could talk’)
My Fine Art degree spans OVER three years.
(‘If these walls could talk’)
It is nearly OVER.
(‘If these walls could talk’)
This corrugated ceiling, belonging to the fine art studios at Nottingham Trent University (NTU) has seen many things.
Realisations, celebrations, accidents, reflection, tears, conversation, break downs, friendships, relationships, hard labour, scolding, disaster, enjoyment, perseverance, triumph… All connected to the OVERarching landscape of Fine Art.
Each individual journey, of each student, each member of staff, each technician and each visitor has been charted by this roof.
(‘If these walls could talk’)
Due to the cycle of presenting work throughout each of the years on the course, artwork remains very temporary when in the studios. Any work that survives the annual degree show set up, becomes rather special, dodging the fresh paint, the wood filler and sandpaper. These hidden works are reminders of the past students’ expedition through their practices’, mirroring my own current exploration here at NTU as its end draws ever closer.
I have had three years to solely explore my concepts and discover contexts, constantly working alongside other artists working in every different media and area available. This adorned light enclosure, and the ceiling it hangs from has housed this voyage, watching OVER us, each struggle, each encounter, each accomplishment. To that I owe it something.
The inanimate, unfeeling metal, I owe it.
Asking the question of why we instinctively look up for answers, towards something higher. In this case this is interrupted by the ambiguity of the ‘OVER’ light shining down from the lofty heights of the Fishbowl (a nickname for a space that stuck, its origin also forgotten). A relic of an artist’s legacy that has long left the nest, spread their wings and took flight onto the next journey.
(‘If these walls could talk’)
(‘If these walls could talk’)
(‘If these walls could talk’)
Reece Straw
IMAGE: Reece Straw 2016
Artists will work to an open brief and create a unique and unplanned artwork in a novel drawing exhibition here at the Gallery.
Performing Drawology – which takes place between Friday 15 January and Friday 12 February – will see the creative process unfold live as eight artists undertake separate residencies to create a collaborative drawing on the gallery walls.
The exhibition – which will evolve from one practitioner to the next – is curated by humhyphenhum, a collaboration between Nottingham Trent University lecturer Deborah Harty and Phil Sawdon, an honorary fellow of Loughborough University.
“It’s very experimental, and we have no way of being able to foresee what’s going to happen,” said artist Harty, a researcher in what drawings say about a person’s mind and movements, who also works on her own projects.
“Phil and I asked each artist to bring their drawing toolkit with them, but have left it completely open as to how it manifests in the gallery.
“It could be a major success or a complete disaster – that’s the risk we’re taking. We’re not sure what’s going to be left behind when it’s all finished.”
The artists include Deborah Harty and Phil Sawdon (as humhyphenhum) Lorraine Young, Catherine Bertola, Maryclare Foa, Andrew Pepper, Martin Lewis and John Court. They were invited on the basis of being open minded to collaborating in an experimental way.
The drawing will be initiated and completed by humhyphenhum. There will be a closing night celebration on Thursday 11 February during which visitors can view the final artwork.
“It’s an incredibly exciting project and we hope that the entire space is engaged in some way,” added Harty.
“In many ways it could be daunting to be faced with what is essentially a considerably large blank sheet of paper. But we’re sure it’s going to be a great success.
“We’re hoping that people will enter the space once the project is completed and see it as a walk-in drawing.”
Sitting in the Gallery today I have had time to reflect on the evolution that has occurred here over the last few weeks. As I had to be knowledgeable when on shift, I made time to visit and revisit the exhibition, and have watched the changes, which at first seemed subtle, explode outwards.
For me what began as simplistic has become anything but. I was unsure how I would feel when returning to the space each time. The first few weeks, I remember wanting, craving almost a mark to be made upon the clear skin of the white gallery walls, a blemish to appear on the pale rolls of paper. I had enjoyed the feeling of wonder when stumbling on the snail shells and small drawings pinned to the walls like an insect in a specimen tray. But despite this, I have struggled with feelings that the activity was too stuffy or reserved for such a large open space.
I understand the title of the exhibition “Performing Drawology” to mean the actions or performance of drawing, the strokes and movement. Like a dance. With the marks made the evidence of the action. As a Fine Art student we are always reminded to question: “what is the work? Is it the drawings? Or the act of making them?”
I feel my stance on this issue shifted during the continuation of the exhibition. I at first saw the appearance of the sculptural snails and the miniature drawings as the work, only now realising that in the later weeks, I found watching the workings of the artists to be the work and the results almost a by-product.
When returning to view Joe Graham in residence in the exhibition I had the chance to not only be part of the work by assisting him but was able to observe the decisions being formed. Despite what I felt to be a fast-paced approach to the space, I could see each movement made with his body as calculated; each mark made, each incision, each drip. When turning up for my shift, I first felt uncomfortable as the level of change from the almost sleeping state of the exhibition over the weekend of rest had awakened in to a very big and playful scene. I did not think I would like the changes, as someone who does not like change I felt almost anxious seeing the carefully folded concertina paper installations altered, cut up and strewn across the floor.
I did not think I would like exhibition after this but I was wrong. I quickly got in to the groove of Graham’s work and left my shift with a smile on my face, having enjoyed having fun in the gallery.
I return to the act of reflecting. Actively absorbing and thinking. Adjective, doing word. Today, on the last day of the exhibition, I see the finished gallery and conclude that I am among a stage set, an active space. I feel it is impossible to do nothing here now, my eyes wonder around the space in continuous movement. I watch the time-lapse video, noticing the moment where I am present. The sped-up movement return my thoughts to dance. I spin around to look at more of the room, more of the projection.
I take away my conclusion as to what the work is. For me, ultimately, I was the work. The way I now move around the Gallery in response to the performance of the artists is almost as if they had written the play and I am the dutiful performer.
Dominique Phizacklea
BA (Hons) Fine Art, Year 2.