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In this post you can find work form the artists in residence during Performing Drawology.


humhyphenhum is the ongoing collaboration of Deborah Harty and Phil Sawdon. Since 2005, the “hums” have developed a method of drawing and research referred to as “meaningful play”. The process of drawing commences through openness and responsiveness to discovery, and a willingness to ‘play’ with marks, media and concepts. Through a dialogue between collaborators, drawings and theme – where each has a role in co-constructing consequences – the hums’ responses, deliberations and reflections are drawn, distorted, erased and redrawn.

Performing Drawology brings this research into the Gallery – allowing the public to witness and engage with the entire process. humhyphenhum will be both curator and artist in residence; the first to enter the space (starting from today), to create a three dimensional drawing. The following artists will then continue to add and respond to the drawing in turn, with humhyphenhum returning to complete the drawing on Thursday 11 February.

RESIDENCE AND DISCUSSION SESSIONS: Friday 15 – Friday 22 January (inclusive)
Progress discussion: Wednesday 20 January, 2 pm – 3 pm
Summary discussion: Friday 22 January 3 pm – 4 pm
Thursday 11 February

IMAGE: ]us[ (digital still), humhyphenhum, 2014

Lorraine Young

Lorraine Young is currently a University teacher in Fine Art at Loughborough University.  Lorraine studied for her undergraduate program in sculpture at the Loughborough College of Art & Design (LCAD) and holds a Masters of Arts in Drawing from the University of the Arts (UAL): Wimbledon.  Her practice is situated in the exploration of drawing.

Monday 25 – Tuesday 26 January (inclusive)
Summary discussion: Tuesday 26 January, 3 pm – 4 pm

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Catherine Bertola

Catherine Bertola’s work involves creating installations, objects and drawings that respond to particular sites, collections and historic contexts.  Underpinning the work is a desire to look beyond the surface of objects and buildings, to uncover forgotten and invisible histories of places and people, as a way of reframing and considering the past.

Catherine Bertola was born in Rugby in 1976; she studied Fine Art at Newcastle University, where she lives and works.  She has worked on a number of commissions and exhibitions, nationally and internationally with institutions such as; Museum of Arts and Design, New York, USA; Kunsthalle zu Kiel, Kiel, Germany; Artium, Vitoria Gastiez, Spain; Temple Gallery, Philadelphia, USA; Whitworth Art Gallery, Manchester, UK; National Museum Wales, Cardiff, UK; V&A, London, UK; The Government Art Collection, National Trust and Crafts Council, UK.

She has work in several public and private collections and is represented by Workplace Gallery, Gateshead and M+R Fricke, Berlin

Wednesday 27 – Friday 29 January (inclusive)
Progress discussion: Thursday 28 January, 2 pm – 3 pm
Summary discussion: Friday 29 January, 3 pm – 4 pm

More info:

Andrew Pepper
Three Elevated Voids (detail), Andrew Pepper

dimensional volumes in which they are manifest.

He works with holography, projected light and installation to combine and manipulate marks, releasing them from the surface they appear to rest on.

Recent pieces attempt to question our expectations around the visual fidelity of holographic images and employ aspects of the ‘sideward glance’ the peripheral view and the vocabulary of ‘framing’ and ‘placement’.

Thursday 4 February

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Joe Graham
Joe Graham, Performing Drawology

Joe Graham’s artistic practice engages in the production of serially developed drawing, employing processes and structures connected with seriality to ask questions about drawing across a range of media and materials.

His artistic research explores how serially developed drawing re-presents (‘records’) the successive nature of conscious experience, in order to query the assumption that ‘drawing records thought’. Scrutinising the process of drawing in close proximity to Husserlian Phenomenology, he examines ways to connect ‘drawing’ and ‘thought’ via the topic of temporality which underpins both.

In methodological terms, serially developed drawing describes a repeated form across a number of iterations. Within any given series an eidetic method searches for what the individual instance indicates is purely possible. Via this process a rhythm emerges: repetition and difference, within a temporal return.

Drawing described in phenomenological terms as: the diagram of thought.

Tuesday 2 – Wednesday 3 February (inclusive)


Wednesday 3 February, 3 pm – 4 pm

Martin Lewis
Martin Lewis

Martin Lewis is a Nottingham-based artist and PhD research student at Nottingham Trent University.  He also teaches at Loughborough University.

Lewis’ practice explores drawing and thinking as an embodied activity with the focus of the drawing on its act rather than its outcome as an artefact.  The drawings employ simple lines or marks repeated over and over using pre-determined instructions.  The most recent work involves drawing directly with my fingers onto a purpose built amplified ‘desk’ employing sound as the drawings medium. participating in Performing Drawology connects closely to Lewis’ current PhD research providing a critical context for him to test out a live enquiry in conceptual and performative terms in the form of a durational performance-action exploring ideas of drawing and attention.

Friday 5 February

John Court
John Court

John Court was born in 1969 in Bromley, Kent.  He graduated from Camberwell School of Art, London in 1994 and from Norwich School of Art and Design in 1997 with a degree in Sculpture.  He moved to Finland in 1997, and was awarded a three year grant by the Arts Council of Finland.  He lives and works in Lapland, close to the Arctic Circle.

Court has exhibited extensively in Scandinavia, and performed by invitation at major events such 7a*11d in Toronto, Canada, DigitaLive Guangzhou, China, 2014; SpaceX Gallery, Exeter, UK, 2012; Guangzhou Live Art Festival in China and ANTI Contemporary Art Festival , Finland, both 2010; the Venice Biennale, 2005 and the Liverpool Biennial, 2004.

John Court’s performances interweave personal experiences encountered from childhood to the present day. John left school unable to read or write.  He interacts with modified versions of familiar objects that featured throughout the difficult times of his formal education; objects such as desks, dictionaries, pencils and paper.  He worked on building sites in and around London for many years before being introduced to art.

Monday 8 – Wednesday 10 February (inclusive)
Progress discussion: Tuesday 9 February, 2 pm – 3 pm
Summary discussion: Wednesday 10 February, 4 pm – 5 pm

More info: