The Drawing Center's
SelectionsWinter 2oor MAnre CHrrn Rovcp Flowps JEssr c aH urc urN s YuN-Fu JI Gnacn MenxnreN Connv McConxln CenorvN Swlszcz Scorr TnplIN SuseNTicnn
r-6 SelectionsWinter zoor Januaryg-Februaryro, 2oor Mdnre CsIr.r' RovcE F{owrs Jr s s rc a H urc nrN s YuN-Fnr Jr Gnecr MenxntaN Conrv Mc C onrun Cenor,vN Swrszcz S c orr TtprIN SusaN Tienn
The Drawing Center
Mdnra Cnrr.r The Unfixed State of Tbings M-{nre Csrln's DRAwrNGs,oBJEcrs, AND rNsrALLATroNs represent different aspectsof the same concept: the study, recording, and processing ofreality in a quasi-scientific manner that results in a strongly sensual, material form. Her drawings and objects are at once playful, beautiful, and terrifiiing. She makes machines and instruments of ptzzling design and purpose, generating vaguely familiar yet nonetheless mysterious forms, consrructions, and spaces.She combines incomprehensible fragments into an incomprehensible whole, causing a vacillation between the concrete and the suggested' Chilf brings to her practice the discovery that shook the foundations of twentieth-century science: that observers themselves interfere with the objects they observe, thus making it impossible to represent any fi-xed model of realiry. According to pessimists, this realization means the complete failure of science. Taking a similarly skeptical stance as her starting point, but shrugging off any sense of disillusionment, Chilf tries to record as many ofher observations as possible. She then uses these documents ofher experiences to create pictures and objects. Her sketchbook resembles the notebook ofan inventor: she makes verbal and visual notes, committing ideas and thoughts to paper in a diaryJike fashion. In her drawings, she processesand elaborates upon these notations, combining mechanical gadgets and live creatures, organic and inorganic materials, constructions and living organisms. In her installations, the glass, plastic, and tiles conjure up associations of research institutes, while the less elaborate mechanical contraptions (funnels, grinders, and pumps) bring to mind a laboratory common to every household-the kitchen. She studies the characteristics of biology classrooms and medical school laboratories, as well as the illustrations found in anatomy books, penetrating ever deeper into matter, right down to the cells depicted in microscopic photographs and even to the structure of the elements. Flowever, the more she knows of the details, the further she drifts from the body toward a vision of the unhappy marriage of nature and the man-made. Chilf knows all about Adim Bodor's novel Sinistra Zone,' and about the factories of an end-of-the-world chaos.' She seesthe possibility of carelesspeople suddenly finding themselves trapped with animals in a cone of concrete. She envisions the circulation of mysterious fluids through pipes and a cave of breathtaking beauty engulfed in poisonous fumes. Mriria Chilf researches a world that becomes more and more uninhabitable and dangerous with every new machination to improve it. KnrszrrNa Szrpdcs 1. Andu 2.LAszt6
Booon, Sinistra Koruet (Btdapest; Magvetd, r99z). Sz,izeoos, "Algemon a laborat6riumban" tn Balkon,no. 6,Jme t998, 16-17.
Krisztina Szipdcs is an art historim and the Chief Curator of the Ludwig Museum Budapest/Museum of Contemporary Art, Budapest, Hmgary.
Eight Untitleddrawings,1998-2000 Ink and acrylic on paper, 19 1l/16 x27 9/16 in. (50 x 70 cm) each
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Mdria Chilf, Untitkd,1998.Inkon paper,19 11/16x27 9/16 in. (50x 70 cm).
RovcB Howns SrNcr r99r I uavn BEENMAKTNGcollage drawings using photographic images taken from newspapers. The narrow value range of half-tone screen printing renders a sense of disembodied translucence. Underlying this impression is the fact that the sieve-like screens which create the images allow the light of the page ro penetrare throughout the printed area. Removed from their original context, such images seem suspended and fragile. The newsprint itself is fragile, unstable, and destined to decay. The works become models of entropy. I begin by selecting images from the newspaper and tacking them to my studio wall. Over time certain of my selections continue to hold my attention, while others drop away. An image of persistent interest is mounted in the center of a sketchbook page and cropped so that the composition is consistent with a centered, straightforward presentation. I then alter the image in a variety of ways. Sometimes I apply small sections of blank, toned newsprint that I have collected from newspapers and stored according to their value. Sometimes I erase away original printed ink. Occasionally I draw back in with pencil and, in some instances, the acts of selecting and cropping are sufficient. Favoring of less intrusive interventions, I have done away with traditional mark making, which called too much attention to itself within the context of the printed photograph. Collage, erasure, and drawing allow me to integrate the image with its ground by controlling value transitions and by eliminating non-essential visual information from the original. At the same time, visual disturbances created by the applied newsprint and other alterations compromise the photographic origin of the image. In this way it ceasesto be a record of a single moment and becomes a drawing compounded by memory desire, and imagination. I envision the image to be distinct from the event that initiated it. It is a disturbance in light that has been reflected from a physical surface and travels through space unril it is received by the lens of a camera or an eye. It is literally transient. The image exists between its cause (light striking a surface) and its reception (a Iens collecting the lighr). When received by a camera, it becomes an objective record of an instantaneous event in the physical world. When received by an eye, it is subject to properties of the mind that accomplish cognition. In this complex, subjective circumstance the very character of the image is dependent on layers of memory and associations that color and inflect it. My working process is a protracted cognition of an image that leads to tfre creation of an obiect that becomes a new event in the path of that image through the world.
IJnless othemise noted, all works are 10 5/8 x7 L/2 in (27 x 19 cm}
Maker, 1998
Untitled (Smiling Girl), t997 -2000
Newspaper photograph, pencil, and erasure on paper
Newspaper photograph and newsprint collage on paper
Untitled (Crying Girl), 1992-99
Untit led (Soldier), 1996 -2000
Newspaperphotograph,newsprintcollage,index card,and pencil on paper,11 x 10 1/8 in. (27.9 x 25.7 cm)
Newspaper photograph, newsprint collage, pencil, md erasure on paper
Untitled (Falling Man), 2000 Newspaper photograph, newsprint collage, and erasure on paper
Untithd (Falling Woman),1997-2000 Newspaper photograph, newsprint collage, pencil and eraswe on paptr
Untithd (GazingMan), I 998-2000 Newspaper photograph and newsprint collage on paper
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Untitled (fwo Men), 1999 Newsprint photograph and ertsure on paper
Untitled (Walking Woman),1999 Newspaper photograph and newsprint collage on paper
Untitled(Womanin Sun),1998 Newspaper photograph and newsprint collage on paper
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Royce Howes, IJntitled (Iwo Men), 1999. Nempaper photograph on paper, 10 5/8 x7 l/2 in- (27 xl9
cm)
Jnssrca HurcnrNs I uexa My woRK out of the stuff that's in the room. These banal things contain evidence of a past, signs of aging and dereliction, which proves that my sculptures and drawings had a prior use and that their emotional and narrative content is already there in the materials, in the world. In this way the work becomes about a shared activity of recognition. As I transform objects against the literalness of their materials, the methods of making meaning become subject matter. So these drawings (this old cardboard, these saples, pieces of paper) indicate how we try to read ourselves through the things we encounter and exist as evidence of my own attempts to do so. I want to engage the act of faith it takes to suggest metaphors and create occurrences that recognize and thereby relieve (and also perpetuate) the discomfort of the self in its struggle to connect to the world.
Untitled, ry99
Facade,1999 Fomd crdbord md saples, 7 x 7 t/2 xl l/2 ir. (17.7x 19x 3.8crn)
Found cardboardand staples,6 x8 l/4 x 5 n. (15.2 x20.9 x 12.7cm)
Forest,1999
Fomd cardbord andstaples, 4 l/2 x6 l/4 x5 in. (11x 15.8x 12.7crn)
Fomd cmdboard md papier mach6, 5 x 8 x 6 in. (12.7x20.3 x 15.2m)
Fragmmt, 1999 Found cardbord md spacHe,6 L/2 x8 in. (16.51x 20.3 cm)
On Aristophanes,1999
Untitled.1999 Fomd cardtroardand papier mach6, 6 x 5 !/2 x 2 l/2 in. (15.2x 13.9x 6.3cn)
Untitled.1999 Found cardboardand papiermach6,7 l/2 x7 l/2 n. (19 x 19 m1
Cardboardand marker,5 l/2 x 7 in. (13.9x 17.7cm)
Still the Best,L999
Untitled,1999 Found cardboardand papiermach6,8 x 8 in. (20.3x 20.3 cm)
Fomd cardboard and papier mach6, 9 x 6 l/2 in. (22.8x 16.5m)
Smtaure. 1999 Foundcardtroard,Tl/2x4x
Unitled,1999
I in. (19x 10.1x 2.5 m)
Untitled, 1999 Foud cardboardmd spackle,I x7 l/2 in. (20.3x 19 cm)
Untitled, 1999 Fomd erdbomd,5 l/2 x 5 in. (13.9x 12.7m)
Untitlzd,1999 Found cardboardand papiermachâ‚Ź,lO x7 l/2 in. (25.4x 19 cm)
Untitled, 1999 Fomd cardboard,paint, and papier mach6, 5 x 8 x 6 in. (12.7x20.3x 15.2m)
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Untitled, 1999 Fomd ordboard,T l/2 x7 1/2 in. (19x 19 m)
Wew, 1999 Fund mrdboard md paint on wall,7 l/2 x7 l/2 in. (19 x 19 cm)
JessicaHutchins, Untitled., 1999. Found cardboard and papier mach6, 10 x 7 l/2 in. (25.4 x 19 cm).
YuN-FErJI Make Noisein the East.Attack in the West 'IhB esovn sAyrNG REFERsto an ancient Chinese military strategy,one that emphasizesthe element of surprise in organizing a war campaign. For me, it also refers to the making and viewing of art: displaced expectations produce anxiety and surprise, which in turn heighten the act ofseeing and knowing' I favor the implicit to the explicit, for I believe detours yield greater accessto the subtlest regions of consciousness.One can easily talk about the themes of an artwork, but its subject is more difficult to get to; one can only walk around, allude to, that which is inaccessible. To make the invisible visible, I find it useful to highlight the implicit. A circus lion playing with a ball is a good example. What we see is the agile movements of-.h.1ion, the jumps he makes, the balancing of different body parts. It is the beauty of the animal's movements that we see, but it is the ball itself that the lion sees.The lion can try many things to get close to the ball, but he can never fully possessit. What is interesting to me about this example is the idea of perspective: what we see and what the lion seesare two different things. We see things from many different points of view, all of them showing one aspect of a thing, but never all of it. Only when we take a step back-a detour-can
we catch a glimpse of the totality.
In Beijing, there is a place called the Heavenly Temple. In order to visit it, one must walk along a mile-long path*ay Iined with woods. As a traveler moves along the pathway, parts of the temple become visible through the trees-a column, a statue, a doorway-but the whole remains invisible. The pathway is itself an important part of the temple. The idea of the implicit also has political implications in China, where all important political messagesare conveyed in code, a method often described as "pointing to the chicken to insult the dog." Reading between the lines is the only way one can accessinformation. Despite the relative thinness of the mulberry paper that I use, it has a very strong constitution and is, in fact, ,e..er"l lay.., thicker than mosr of the similar papers found in the West. It is a deceptive material, so close to immateriality that it almost escapesbeing an object. I stain these multiple layers of paper with inks, a process that often tales a long time. There are works that remain unfinished after two years in the making. I erase as much as I apply; I use water to wash away the stains, then add new stains. A chemical reaction takes place between th. *at.r, glue, ink, alum, and paper, between the different drying stagesand how I apply the next layer of ink. The objects I depict are always in a srate of formation, a continuing state of becoming that is also, at times, about disappearing. I vary the ways that I describe them; sometimes they are simply inkblots, sometimes they are somewhere between blots and recognizable objects. In some casesthey are line sketches, in others, full world. renderings. There is avartety oftextured strokes and surfaces in the effort to create an interrelated My work draws upon the textual richness of the objects around me, their aura and mystery and most importantly, the inner response I feel in their presence. I believe the richness ofthe things we encounter the many shades of our inner experience. In my work, I try to mimic the method that underlies the *rt"h., formation of the early Chinese characters: I invent forms that are like words to describe the world. ((1ss's21"-2 return to the Tho, or the true principles of the Classic Chinese landscape painting speaks of a universe that inform our values and guide our actions. In this tradition, trees and rocks stand for moral qualities. While our eyes reach outward into the valleys and vistas, our minds reach downward and inward. the fty *ork or., this tradition as a point of departure; it meditates upon the loss of a "retreat" and laments failure. own rnoral our image of the place that has risen instead. It is a meditation on the land as the Filled with beauty and pain, I also want my work to project a sense of delight and wonder; to depict appeal' this mystery surrounding our lives. With love and humor, I make
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All worksareink,pigment,and alumon layersof mulberrypaper,1999-2000. Appetites 181/8x 321/8in. (.16 x 81.6cm) A Conaersationwith an Anthropologist 25 I/2 x 64 l/2 in.(64.7x 163.8 cm) The 1 Hour Driae Home 23 l/8x47 3/4in.(58.7 x 121.3 cm) Loae Lener 273/4x 381/8in. (70.5x 96.8cm) Make Noise in the East, Attack in the West 133/4x50in.(33x 127cm) The Retreat 16x36 l/2 in. (40.6x 92.7cm) The Rising Water" 183/4x 343/4in.(17.6x 88.2cm) Ru ruo r s x 137.1 cm) 391/2x 54in.(100.3
li, Make Noise in the East, Attack in the West, 1999-2000. l nk , pi gm ent. and al um on l ay er sof m ul ber r y p a p e r,
Ytn-Fei
13 3/4 x 50 in. (33 x 127 cm).
Gnacn MenrnreN My pnewrNc spRrNGsfrom the urgent necessityto generateimageryt-hatcarriesa densityand multiplicity of meaning.The body astree, flower, coffin, finger, and house:compositeforms that stnrggleand question, wearilyventuring into relationshipsand facing the larger,menacingworld. I createanimated,cartoon-like for.msweighted with complexities. In this way my drawing suggestsa visual parallel with poetry, which often renders the greatestdepth through the most economicaluse of langrrage. I havebeeninfluencedby the humorous,yet serious,late work of Philip Guston and the tense,psychological drawingsof Louise Bourgeois.Televisioncommercials,which aim to stimulateour unconsciousdesires,and the quickly transforming imagery of computer animation have also played a role in the evolution of my work. Drawing is my way to discover resonateforms. I use soft crayon with broad, swift strokesto delineateforms that resemblesculpture. My drawings are serial, with one drawing inspiring the next. Often there are several versionsof a subject.I play with the possibilities,rearrangingforms to createthe strongestand most powerful image possible.Negotiating internally driven fears,coping with inevitable losses,and enjoyrng the mysteries of luck are recurrent themesin mv work.
All worls tre cmyon on paper,ll x8 l/2 in. (27.9 x21.6 m).
Gulliaer,2000 Fourteen Untithd drawings, 1999-2000 Wobble.1999
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LIvEs IN Bnoorr,vN.
Grace Markman, Wobbk, 1999. Crayon on paper, 11 x 8 1/2 in. (27.9 x21.6 cm)
Conrv McConrr.n Cut Tbmplates MonrtreN cHEAp rHRILr,s, I think it is the insinuation of trompe l'oeil that keeps my interest. On and off for five years I have been trying to work out the problems presented by the overlapping, green, circular templates found hanging around in my studio. The theme for me is thin space collapsing. I refer to this static but unstable situation often in my other work, and the piece for this exhibition, this machine of sorts, has become a recurring point of reference. Trying to match the almost hallucinatory effects of the many layered, precisely off-register circles and their confusing, luminous planes becomes a meditation on utility, draftsmanship, volatile perspective, and other sorts of imprecision. From these calibrated standards spins the incidental geometry of a cerain vertigo (in effect, becoming an exercise in watching many apertures simultaneously contract and swell, or maybe focus). Two influences on the piece are fairly direct. The first is the perspectively obedient intarsia (wood inlay) found in the Studiolo Gubbio at the Met. Made up of thousands of wood pieces, this room is an almost perfect situational trompe I'oeil. Depicted are both the room, and, in the room, the patron's objects of warfare, calibrated engineering instruments, and other evidence oflearning. Another unrelated influence is the geomeuy of Sinan, an architect of the Ottoman Empire. By applying a simple principle to fenestration design, light was engineered to enter a mosque indirecdy, designed to bend its way through thick glass sandwiched between two lead panels, perforated by a pattern of circles, off-register.
Both site-specific installations are paper and adhesive on wall, dimensions variable
ColdMosqae,200l Fhwer,200l
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Corey McCorkle,
Working Model,2000. Paper and adhesive on wall, 9 x 5 l/2 n. (22.8 x 14 cm)
Cenor.vNSwrszcz I uaxr anr about things and events that are often passed over, the mundane details that comprise the greater part of our lives. I would like to believe that all experiences have importance, that completing a dull task can be as profound as watching a glorious sunset. Paying aftention to and recording these overlooked moments is my way of trying to understand existence. The buildings in this series have been, at one time or another, personal landmarks, part of daily walks or drives. Some buildings have actual autobiographical significance, while others are part of an imagined drama. Built from observation and memory, these scenespossessa peculiar atrnosphere that hovers between reality and fantasy. While there may be a melancholic silence in many of the drawings, I also try to imbue them with whimsy and genuine affection, Working on many pieces at once, I arrange them visually and thematically. The final installation becomes an exploded book that the viewer can take in either all at once, or detail by detail. Striving to mainain a balance of precision and sloppiness, part of my process includes using monoprint techniques to purposefully "ruin" a work so as to encourage happy accidents. I feel that my most successful drawings retain a sense of their original motivation while ultimately surprising me.
Aparnnent,2000 Acrylic md pencil on paper,16l/2 x20 in. (41.9x 50.8cm)
BeachTiruting,2000 Lithographic ink, aaylic, and pencil on paper,18 x 14 l/2 in. (45.7x 36.8cm) Brake Sentice.1999 Acrylic and pencil on paper,l7 l/2 x 15 n. (44.4x 38.1cm)
CaptainFrank's,2000 Acrylic and pencil on paper,2I x24 l/2 in. (53.3x 62.2 m)
DairyQuem,2000
Acrylic, pencil,and enmel on paper,20 x 16 l/2 in. (50.8x 41.9 cm)
Insurance,2000 Lithographic ink, acrylic,md pencil on paper,15 l/2 x 18 in. (39.3x 45.7 cm)
Marwell Market,2000 Acrylic and pencil on paper,22 x26in. (55.8x 66 cm)
Pbones.2000 Lidrographicink, acrylic,md pencil on paper,17 1/2 x 17 n. (44.4x 43.1m)
Publix,2000 Lithographic ink, acrylic, and pencil on paper, 20 x24 n. (50.8x 60.9m)
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Carolln Swiszcz, Phones,2000. Lithographic ink, acrylic, and pencil on paper, 17 1/2 x 17 in. (44.5 x 43.2 crn).
Sco rr T E p T I N My woRK a series of iconic images appears and reappears. I develop most of these icons from Tirnoucnour strong, emotional memories stemming from specific adolescent experiences. Depending on how I use them contextually, rearranging and redrawing these icons often changes both the content ofthe individual drawings and the meanings of the icons themselves. A common theme of my work is a general curiosity about what lies "beneath" and who or what has accessto unexposed information. This aspect of my practice is similar to the ways plays work, where the audience is given only some of the information, and the plal'wdght, likewise, decides what the characters know, and how the dy'namics of dueling information will interact. BecauseI do not totally understand all that I draw, I am often compelled to make one drawing in response to another, which inevitably begs new questions. This rycle continues, sometimes resulting in the invention of new icons. Like following the ties of a rail-road track, I make one drawing to get to the next, which eventually leads me ro a new level of undersanding. By incorporating my series of icons as a language, I am able to temporarily satiate my appetite for answers. Books are an excellent vehicle for drawing. One can set up a narrative or simply amassa collection of images in one place that are experienced in sequence and at a pace determined by the viewer. fusociations and relationships are created and invented both by the maker and the viewer, offering a unique intimacy and new levels of understanding.
Unless othemise
noted, all books have been bound by the artist.
Neither Here Nor Tltere or that In-&eftl)em State,2000 Leather-bomd in stainless steelbox. Ink on paper,163/4x 5 l/4 x 3/4 in. (17.2x 13.1x 2 m). 25pages. Oliae Match Sketchbook,1997 -98 lnk, graphite, watercolor, and etching on papet 7 5/8x5
l/2 x3/4in.
(19.4x 14x 1.9 x cm).39 pages. Leather-boud.
ScboolerSketchbook,1996-97 Inlq graphite,and watercoloron paper,11 3/8 x 7 l/2 x I l/4 n. (l x 19 x 3.2 cm). 38 pages.Bomd in linen, with flap, by Nugent J. Vitallo.
1997-99 Silaer Sketcbbook, In( gmphite, watercolor, and etching on paper, l0 1/4 x 6 5/8 x | 1/5 in. (26 x 16.8 x3 cm). 42 pages. Leather-bound, with copper-etched plete embedded in cover.
SuhwayNotes#2, 1998 Inkon paper,5 I/4x4xl/4in.
(13.3x 10.2x0.6 cm). 11pages.
SuhwayNotes#3,1999 Inkand watercolor on paper, 5 x4xI/4in.(12.7
x10.2 x0.6 cm).8 pages.
SuhwayNotes#4,2000 Ink on paper,4 l/2 x 3 l/4 x l/4 in. (11.4 x 8.3 x 0.6 cm). 9 pages.
Thagl:t, 1999
41/ 8x 7/ 8in. ( 13x 10.x52. 2 c m )1 2 p a g e s . E d i t i o1n5o.f Serig mph so npaper , x5ll8 Ten ReasonsSketchbook,1996 Canvas-bound by C.K.Wlde. andgouache on paper,7 x7 3/4xl 1/+n. (17.8x19.7x3.2cn). 33pages. Ink, graphite, watercolor, Urine Snle Sketcbbook.1997 -98 Ink, graphite, and watercolor on paper, T l/2
x 5 5/8 x 1 in. (19 x 14.3 x 2.5 cm). 30 pages. Qurter-bound
V[/hatWentOn or How b Happened,1999 I n k , g r a p h i t e , a n d h o u se flie so n p a p e r ,6 3 /4 x5 1 /4 x3in.(17.2x13.3x1.9cn).27pages. /4
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in leather and linen.
Scott Teplin, page from thebook Neitber Here Nor There or tbnt In-Benteen State,2000. Pen and ink on paper, 6 3/4 x l0 in. (1 7.1 x 25.4 cm)
SusaN Ticnn IIow can you cry on this big earth Your little tears are funny against the size of ground and expanse of air we walk in our feet on. I draw a head. Drawing a life size head on an earth size earth makes me see how small what makes tlre tears and how what loolc like endless amounts of possibilities here for a head this size.
Untitled drawings, 1999-2000. All works are graphiteandlor acrylicon &afting vellum, 12 x9 in. (30.5x 22.9 m).
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Susan Tiger, Drk,
1999. Graphite and acrylic on paper, 12 x 9 in. (30.5 x 22.9 cm)
The Drawing Center is the only not-for-profit institution in the country to focussolelyon the exhibition of drawings,both contemporaryand historic. It wasestablishedin 1976to provide oppornrnitiesfor emerging and under-recognizedartists;to demonstratethe significanceof drawingsthroughout history; and to stimulate public dialogueon issuesofart and culture. This is number 16 of the Drawing Papers,a seriesof publicationsdocumentingThe Drawing Center's exhibitions and public programs and providing a forum for the study of drawing. The Drawing Papers publicationseriesis printed on MonadnockDulcet 100#SmoothText and 80# Dulcet Smooth Cover. The Drawing Center is grateful for the supportit receivesfor its exhibition programsand operationsfrom the following sources: Board of Directors
Dita Amory GeorgeNegroponte Co-Cbaimm FrancesBeattyAdler JamesM. Clarh Jr. FrancesDittrner Colin Eisler BruceW. Ferguson Michael Iovenko Werner H. Kramarsky Abby Leigh William S. Lieberman Michael Llnne ElizabethRohatFn* Eric C. Rudin Dr. Allen Lee Sessoms JeanneC. Thayer* Edward H. Tirck ElizabethWeir AndreaWoodner Catlrerine de Zegher Eremtiue Director *Emrita
Viewing Program Comittee Catherine
de Zegher, Director Vewing Program Cuator
Luis Camnitzet Elizabeth Arnrro Victoria
Finch, cot"tot \4ewing Progmm Cumtor
llerrera,
Viewing Program and Exhibitions Coordinator
Noorthoorn,
Departrrental Assistance Allison
Plasridge,
Marisa
White,
Registrarand CuratorialAssisant
Gallery and Viewing Progmm Assistant
The Drawing Center 35 Wooster Street New York, NY roor3 Tel: ztz-ztg-2166 Fu<: ztz-966-2976 Designer: Luc Derycke Coordinator: Katie Dyer @ 2000The DrawinECenter