Shifting Perspectives Drawing Symposium 2017 by Joshua Adam Grice

Shifting Perspectives Drawing Symposium 2017

Shifting Perspectives Design: Joshua Adam Grice Editors: Su Fahy, Rebecca Collins We would like to thank all artists, sponsors and Northycote Farm staff to make Shifting Perspectives possible.

Acknowledgements: With thanks to Ian Nicholls Farm Manager and all the staff at Northycote Farm and Country Park in Wolverhampton for hosting the symposium, and our thanks are extended to Marguerite Nugent at Wolverhampton Art Gallery, and Mark Blackstock at Wolverhampton City Council, for facilitating this drawing symposium for Wolverhampton School of Art students, staff, and artists in residence. wolverhampton.gov.uk/article/1877/Northycote-Farm Shifting Perspectives - Drawing Symposium

Shifting Perspectives Foreword

This journal documents the drawing practice that has evolved through a three day intensive drawing symposium in February 2017 at Northycote Farm on the outskirts of Wolverhampton. The symposium set out to take up the new directions that drawing as a practice is exploring in the twenty first century. The workshops covered : site specific drawing/the role of the diagram/the photograph as a drawing board/drawing as research/and contemporary debates in drawing. The aim for the participants was to explore drawing as a significant discipline in its own right and in a diversity of forms: as an experimental practice, as research, as representation and/or documentation, as process or as performance. Drawing as a practice explored across fine art, science, media and communication, design, and social and cultural practices. The journal maps these practices and practitioners concerns with drawing as a means of visual conjecture and thinking.

Shifting Perspectives - Drawing Symposium

Drawing Paper: Shifting Perspec

Su Fahy Principal Lecture Faculty of Arts, academic fine ar artist, writer and curator. Introduction

“My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined.” Odilon Redon

References Alice Maher, Reservoir, (Roads Publishing: 2014) Odilon Redon, (1840-1916) from, www.odilon-redon.org/biography.html (Accessed 10.02.17).

Why is drawing so popular now as a material practice - are we now embracing the material to get back to material thinking in this present digital age? Or are we clear that we can develop work across both material and liquid realms, both after all flat surfaces, accepting of mark making, gesture and viewpoints. Drawing in the expanded field covers many forms and is considered now by theorists and practitioners to be boundary blind and we should remember here that drawing does not solely belong to visual art. Drawing is clearly an activity that is constantly adapting, to new forms, new media, conceptual attitudes and emergent technologies. Its rediscovery in recent times has revolved around its potential as a form to critique and notate other disciplines such as science, archaeology and music. I think here we should value artists talking about the act of drawing as thinking. The artist Alice Maher (2014) discusses her personal practice of drawing as a form of thinking therefore we could argue here that drawing’s moment of closure will never arrive but the act of drawing will continue to develop each individual artists thinking so remaining for us very much in the present tense. Drawing in the past related in my view to a type of magical thinking and this is reflected in the term perspectives that were an architect’s means of rendering the imaginary into real time for clients to regard and consider in the commissioning process.

: ctives

rt and photography,

These drawings were still complete drawings in themselves and offer great insights into the persuasive power of drawings creating a visual sense of place. An artist who works in this way utilizing perspective drawings to propose and fund his projects is Christo www.christojeanneclaude.net. See the umbrella projects for a series of international settings and site specific drawings that are in this genre of the architect’s perspective but expand its reach into installation in the public realm related to the ephemeral character of the work of art.

“Palimpsest” originally described an early form of recycling in which an old document was erased to make room for a new one when parchment ran short. Fortunately for modern scholars, the erasing process wasn’t completely effective, so the original could often be distinguished under the newer writing. De republica, by Roman statesman and orator Cicero, is one of many documents thus recovered from a palimpsest. Nowadays, the word palimpsest can refer not only to such a document but also to anything that has multiple layers’.

Drawing as related to the ephemeral work of art is the work itself rather than a study for future works. In Christo’s case it is a translation into installation that is faithful to his perspective proposals inclusive of collaged material to be used in the construction of the live works. The poetics of space can be translated through drawing, and three - dimensional space, navigated through by the act of drawing as thinking as outlined earlier. Drawing also inhabits new surfaces being applied to photographs, maps, and substrates that already hold a key of mark making added to and counter layered through their appropriation. This act of appropriation and layering creates modern palimpsests - to clarify this term here is the dictionary explanation of the term as used today,‘In olden days, writing surfaces were so rare that they were often used more than once.

Conclusion Drawing is still proving to be one of the purest media for expression and allows for individual originality and expressive force for each draughts person. One of the most unexplored domains remains the one of individual dreams. A nineteenth century artist such as Odilon Redon, the symbolist, demonstrates in his drawings a tangible interest in the magical and expressive quality of art working directly from the visual imagination. In recent exhibitions relating to the visual imagination of artists and their sources of inspiration there is a return to the concept of interrogating the subconscious and revealing the expression of an impulse, the record of a flow of energy, an individual response through the medium of drawing not driven purely by techniques. To conclude I finish with the words of this early pioneer of visual imagination rendered through drawing.

Rebecca Collins beckybendylegs.com rebecca.collins@daftcat.co.uk

Shifting Perspectives - Drawing Symposium

I have just completed a BA in Fine Art at the University of Wolverhampton and I’m about to start an MA in Fine Art. My practice is always concept driven. The idea comes before the means to express it. My interest is in ‘things’. I am fascinated with the relationship we have with the objects, both real and virtual, that we come across in our everyday lives. More recently, however, I’ve become interested in repetition and how it is omnipresent and how much we use it to create something original. Although not an object as such, repetition is my current ‘thing’ of fascination. I work in a variety of media depending on the project I am involved in, including drawing, painting, video, photography and sculpture.

There were two parts of the farmhouse that really affected me. The first was the sitting room in the farmhouse, the second was an area of Medieval pasture land just beyond the grounds of the farmhouse which we were lucky enough to have access to.

I would certainly like to return for longer and spend more time responding creatively to the building, its history and the surrounding area.

The main farmhouse is a fascinating building. Many of the rooms have been mocked up to appear as if a lived-in working farmhouse from the past. However, the atmosphere that this creates is one of uncanny ‘absence as presence’. The pretention of habitation gives the place a ghostly feel. I spent a lot of my time during the three days drawing interesting objects within or around the farmhouse.

On the symposium, I made many drawings but ultimately, the most value for me came from my thoughts while drawing, the walks, the coffee, the chats, the idle wanderings in and out of rooms, and the subsequent ponderings on the event.

By the end of the three days I felt more emotionally charged and inspired by the physical objects (the building, the grounds, the fields, the trees) than any images I captured through drawing. I found the event extremely valuable for my practice, perhaps not in the short-term in terms of technique or development, but certainly in terms of my fascination with our relationship with objects and our physical environment and the ‘traces’ of previous lives that can be sensed in objects.

Shifting Perspectives - Drawing Symposium

Claire Buckerfield clairelbuck@gmail.com

Having left a career in IT to study art five years ago at the University of Wolverhampton, I have now gained a First Class degree in Fine Art and am currently studying for an MA in the same subject. Concerned with drawing in the expanded field, my practice explores new ways of expressing line, space and form. My current work engages with the unforgotten and overlooked areas around us, bringing new perspectives and viewpoints into question. I have recently exhibited for New Art West Midlands 2016 at Mac Birmingham.

I chose to work solely from one room using the existing architecture and material to re-present drawing in new ways. This was a challenge but it produced some interesting results. The ink drawings were made from traced markings of the wooden beams. Their simplicity forces the eye to consider the lines, shapes and perspective. For the installation I wanted the room itself to become the actual drawing. Using ribbon instead of traditional pencil I made what looks like a â&#x20AC;&#x2DC;quick sketchâ&#x20AC;&#x2122; of the space incorporating existing objects into the composition. Iâ&#x20AC;&#x2122;ve worked a lot in the studio recently so it was important for me to go offsite and create new work in an unfamiliar environment, the Drawing Symposium has enabled me to do this. I found it a really useful thinking space in terms of my practice, and it also inspired me to try out some experimental ideas.

Shifting Perspectives - Drawing Symposium

Aimee Millward aimeemillward.allyou.net aimeesfineart@yahoo.com

I am a West Midlands based artist currently studying an MA in Fine Art at the University of Wolverhampton, also a studio holder at Temple Street Studios in Wolverhampton. My practice engages with investigating the relationship between reality and abstraction within painting. My work takes influence from everyday motifs such as landscapes, location, space and todayâ&#x20AC;&#x2122;s culture which are all reduced to their bare essential structures until they are unrecognizable. The mixture of gestural marks and geometric forms becomes the starting point in establishing a hybridisation of reality and abstraction. An uncertain space is generated that constructs ongoing spectacles and experiences in the work. Each mark produces a pictorial language, each mark continually evolves.

Shifting Perspectives - Drawing Symposium

My work was produced by responding to certain spaces within Northycote Farm. I have recently been experimenting with bringing acrylic motifs and lines from out of my paintings into installation pieces. So I felt that this symposium was a great opportunity to transfer those ideas outside of the studio into a real everyday environment. The scenes I selected were an exterior; outside within the farm and trees and an interior setting; upstairs within the house. These were selected to see what the differences would be working inside and outside. I used non art materials like wool, which was very simple to use and remove. Using wool within the installation created a temporal feel to the work, I feel itâ&#x20AC;&#x2122;s not a precious material but still however maintains the whole structure of the work. I really enjoyed working at Northycote Farm, the spaces helped to bring my ideas to life outside of the studio and I believe that the work I produced worked really well in those spaces.

Shifting Perspectives - Drawing Symposium

Alison Ramm a_k_ramm@yahoo.co.uk

Having studied painting and printmaking at the University of Reading I have worked with people of all ages on murals and art projects in youth groups, schools and hospitals. In 2005 I qualified as an art therapist and began work at Royal Cornhill Hospital in Aberdeen. In 2013 I moved to a post in the NHS in Bristol.

Shifting Perspectives - Drawing Symposium

My drawing practice has been the inspiration for my research and for much of my teaching at Queen Margaret University Edinburgh. In my professional and personal life drawing has been and remains, the unifying and continuous principle.

Charlie Kelly

facebook.com/charliekellyart charliekelly@live.com I am currently studying MA Fine Art at the University of Wolverhampton. As an artist, my current practice responds to memories, events and emotional sequences. Using an initial digital photographic form. I create compositions by deconstructing images into installations, paintings and projections. The concepts respond to site specific iconic memories that have influenced my practice.

The work that I created at the residency has highly influenced my current practice. By responding to the surroundings and history of the site the images were edited through colour and rebuilding images that was taken at the farm of close up interesting details. This is a technique I used within my current fine art practice. These pieces were created using a collage of images taken at the farm. By exploring space, depth and light to trigger the audiences senses. The work is viewed in a more responsive state of mind. Creating work that is informed by the surroundings and audience interaction. From this residency, my work has been informed by the history of a building. While looking into the architectural development of Northycote Farm I came across some interesting information that I used to inform my colour choice and also composition. This visit and few days of research has inspired my current practice by looking at the architectural references of the building. Seeing how the farm had been extended rebuilt and redeveloped through the years. Looking at the beams in the ceiling you can see details of the wear and tear of the structure. These often-hidden elements of the farm are aspects that I intended to interpret within my work at the farm.

Shifting Perspectives - Drawing Symposium

Joshua Grice

Artist in Residence joshuagrice.co.uk contact@joshuagrice.co.uk After graduating I worked abroad. Choosing to work freelance meant I started working with companies such as Vodafone, Star Wars, Marvel, Disney, Hasbro, Crowdfunding sites, Crypton etc. I exhibit work in places such as New York and have sold work in over 100 counties. My work is seen by a network of millions each month. Shifting Perspectives - Drawing Symposium

Shifting Perspectives - Drawing Symposium

Lorraine McGinnes

appletonarts.co.uk appletonarts41@yahoo.co.uk A self-taught portrait artist working in ink, graphite and acrylic paint, I enjoy including narrative and some symbolism in my work. I work from commissions gained via my website, community-based projects and fayres which I attend. Last year I began studying the MA in Fine Art at Wolverhampton University to ensure my work continues to evolve. I am currently exploring how I can blend my portraiture with the theory of my current MA studies while broadening my use of different media. My present research is about unpicking why we are so keen to distance ourselves from even our closest relatives on the evolutionary tree and our ever spreading compulsion to clean up our beastly traits and deny our very nature. Drawing is the basis of all my work, the very beginning. As a child, like all children I loved to draw. Unlike many others I have never been quite able to shake the urge to make marks, record my thoughts and express my rhythm. Drawing is more than a documentation of what I see - it is more specifically how I see it and how my body creates the lines to enable me to relate this to others. Shifting Perspectives - Drawing Symposium

I relished the drawing symposium at Northycote Farm. Surrounded by nature meant that the raw materials for inspiration were everywhere, finding their way into my sketchbook, including some in the final works. I experimented, printing with the mud and leaves, a graphite rubbing of a bench plaque and making varied marks with an owl feather found at the farm and sewing the feather into the final piece. The theory discussed throughout the three days tied its threads securely into the pieces ensuring it was an experience I have carried into my subsequent work which continues to seep into my practice and influence my approach to drawing. Moreover, that which I found of most value was being part of the colony of artists who attended that week and shared their ideas and approaches to drawing.

Shifting Perspectives - Drawing Symposium

Su Fahy

Principal Lecturer, Faculty of Arts S.Fahy@wlv.ac.uk I am an artist working in fine art, principally drawing and photography. My research utilizes the aura of the documentary photographic image in order to interrogate and contextualize our readings of natural or architectural environments. Working principally to commission, I engage with theorists, photographers and archive materials with a view to producing images for collaborative publication or exhibition. Recent projects have included Fugitive Testimonies (2009-2017) an artist led archive and Bookishness (2017) a World Book Artists’ Collective Publication. Drawing is for me all of the following things best summarized by the artist Michael Craig.

“…spontaneity, creative speculation, abbreviation, expressiveness, immediacy, personal vision, technical diversity, modesty of means, rawness, fragmentation, discontinuity, unfinishedness and open – endedness.” Martin, Michael Craig Martin, cited by Stephen Farthing in Drawing the Line, p.25. Shifting Perspectives - Drawing Symposium

Shifting Perspectives - Drawing Symposium

William Rounce williamrounce.com williamrounce@gmail.com 44ad.net

I am an artist and teacher based in Bath with a studio at 44AD. Drawing in its various guises forms the basis of my practice. In a variety of media including drawing, installation and animation. Current and recent group exhibitions include: Hanging Instructions, Fringe Arts, Bath 2016: Drawn 2017, 2015, 2013 RWA, Bristol, Open Exhibition 2013: Drawing, Salisbury Arts Centre, Architectural FragmentsThere are Two types of Clarity, Apiary Gallery, London, 2011 and Re:animate, Oriel Davies Open 2010.

The Informal atmosphere of Northycote Farm created an ideal environment to present and share ideas around the breadth of current drawing practices. Transferring your studio to a different environment (on this occasion, a symposium) can be a liberating experience acting as a catalyst for new ideas and methods. For this symposium I presented examples of working drawings from a recent public art commission. This provided an opportunity to re-evaluate the function of these often unseen preparatory drawings. The dimensions of the space were taken using plumb lines, chalk lines, laser levels and a tape measure. Measurements were recorded, dimensions re-checked, calculations made and decisions taken. The plan drawing co-exists as both a location and site-specific drawing, forming an invaluable part of the planning and conception of this large scale project. “The drawing is seen as a field co-extensive with real space, no longer subject to the illusion of an object marked off from the rest of the world. The space of illusionism changes, merges with the space of the world, but by doing so it loses its objective, conventional character and becomes subjective, accessible only to the individual’s raw perception”

Rose, Bernice Drawing Now, New York: The Museum of Modern Art, 1976, p. 14.

Shifting Perspectives - Drawing Symposium

Susan Lily Brisco

www.informedfineart.com suebrisco@hotmail.co.uk

What I thought of the days at Northycote Farm the place was buzzing with inspirations for artistic response and it was a treat to embrace nature in this historical setting. As soon as I pulled up on the car park each day there was a peaceful calm atmosphere that seemed to embed our very souls and creativities.

I have just completed a Masterâ&#x20AC;&#x2122;s Degree in Fine Art at Wolverhampton University and my artistic practice sits at an exciting interface between art and science. My research is led with an innate scientific curiosity into nature particularly into plant neurobiology. Research is revealing that uncanny levels of intelligence exist within the plant world and I use these findings to explore a new form of materialism providing my audience with fresh perspectives into nature. Through scientific collaboration and in-depth research, connections are made between the scientific, the cultural and social aspects blended together with the historical, to form insightful dialogues between drawing, film and science. Microscopic landscapes intrigue me as I observe specimens at high magnifications and as these â&#x20AC;&#x2DC;unseenâ&#x20AC;&#x2122; landscapes are revealed, narratives are composed exposing slippages of mirroring between human and plant life.

Shifting Perspectives - Drawing Symposium

Jan Norton jannorton.co.uk jan@jannorton.co.uk

I am a part-time BA student with an interest in painting, sculpture and bringing the two together in my work. I also deliver community art projects with children and adults. In the past I have led projects which use the arts to explore health and wellbeing issues.

Northycote Farm provided lots of inspiration for me. I wandered around the farm and was intrigued by a reel of barbed wire, which I drew. I realised that without the barbs the coil of wire looked a bit like a tree trunk, cut through, so my next quest was to find a tree trunk. I found a trunk which was cut through and had some interesting patterns in it. I decided to reproduce these patterns in a totally different material: wire. I drew and then built a structure for a mobile using galvanised steel wire to provide some strength and then silver-plated and copper jewellery wire to create patterns, inspired by the cut tree trunk edge. I hung the mobile from a beam and shone a light through it, creating shadows on the whitewashed wall behind. The cut edge of the tree trunk became something completely different in colour and weight, something magical. It was a great opportunity to work at the Farm for three days, taking inspiration from the surroundings and having time to create something different and exciting. As well as creating a piece of work, there were inspiring contributions from artists which considered the relationship between science and art, work on screen and site-specific working and drawing techniques. I would love to go back and work there again. The raw materials for inspiration were everywhere.

Shifting Perspectives - Drawing Symposium

Eileen Bunn

facebook.com/EileenBunnartist eileen.bunn@hotmail.co.uk I am a visual artist based in Lincolnshire whose work most often concentrates upon the human figure including various concerns of the human condition â&#x20AC;&#x201C; psychology, health and physicality. I am currently studying her MA in Fine Art at the University of Wolverhampton.

Shifting Perspectives - Drawing Symposium

The drawing symposium was really useful for considering my practice outside of the studio environment. The farm location provided a different perspective which I believe fed into my work. Going out and using found materials to make the work, drawing with sticks, earth etc made the drawing much more spontaneous. The collaborative aspect allowed discussion for different ideas and new methods of working. The visiting artists and lecturers were extremely generous with their knowledge providing a good springboard for developing ideas further in the studio.

Shifting Perspectives - Drawing Symposium

Jacky Fellows jacky.fellows@gmail.com 07812 158603

Iâ&#x20AC;&#x2122;m in my final year of a BA, studying Fine Art at Wolverhampton. I am a mixed media artist exploring themes of time, memory, nostalgia and space. My practice is influence by process and the materials I work with and is inspired by childhood memories and the urban environment. I co-run Black Country Urban Sketchers in my spare time and organise sketchcrawls once a month. Shifting Perspectives - Drawing Symposium

The sketch inspired by the giant dried Allium flower heads casting a beautiful exploding star-like shadow on a recessed windowsill inside the old farmhouse.

Shifting Perspectives - Drawing Symposium

Patricia Newell sevenru@hotmail.com

I am interested in working in variety of art forms like visual art, performance art, and music. The aim of my practice is to experiment with a variety of mixed media. I particularly enjoy paint, paper, digital photography, and fabrics. I create art that has dimensions of mystery which then assists the spectator to see beyond what at first glance something may first appear.

Shifting Perspectives - Drawing Symposium

The artworks are inspired by the structures, vegetation and the Cottage at Northycote Farm. The images consist of photographs taken inside the Cottage, paintings and drawings made by using wood Japanese paper paint, transparencies and fabric. The images are of specific locations at the farm and its fauna. My aim was to try and capture some of the heritage and intrigue about Northycote farms history. Hence my reasons for the selected artworks made during the symposium.

Shifting Perspectives - Drawing Symposium

Sadie Christian birminghamartspace.org sadiechristian@hotmail.co.uk

I am currently one of the AA2A artists working at Wolverhampton School of Art. With an intention of creating prints, my folio was full of only drawings. Taking part in the symposium at Northycote Farm was an opportunity to think about drawing itself, and a challenge to seek out new interests, apprehensive that I might not find anything, a farm being so far removed from my current interests on the face of it.

Shifting Perspectives - Drawing Symposium

A day of drawing sounds like bliss. In fact, I took photographs â&#x20AC;&#x201C; February being too cold and damp for me to draw outside. Normally I would prefer to make sketches directly from the subject rather than from photographs so this was unusual for me. It made me think about how I would define drawing; I think itâ&#x20AC;&#x2122;s probably the mark making and immediacy that are inherent in a piece of work that are qualities that I respond to. For me, there needs to be some kind of line and an energy, and that is what I found in the bare branches and ivy of the wintery trees. My subsequent sketchbook studies trace the twists and meanderings of these intermingled lines.

Shifting Perspectives - Drawing Symposium

Helen Ricketts elenihellas@yahoo.co.uk

I knew I was different. And also, I knew that there was a lot of work to be done before I called myself an artist. I realised that it was easy for me to draw what things, people looked like; effortlessly. However, it was almost impossible to draw anything out of my imagination, out of my head. I developed therefore the saying,

So it seemed a good idea that I should devote my time to drawing anything and everything around me. There were endless challenges. The subject still, the subject moving. Do I tell them to stop moving and pose? I could not do that. So I set out to sketching in movement. I developed the skill to refrain from looking at my paper and instead look unintrerruptingly at my subject. Also I started to look at the whole of the object I was drawing. I discovered that by doing that I could identify problems to be solved at the beginning, i.e. what shapes colours, objects, what about the background and I realised that I sensed every new gesture or element that was coming into the work.

â&#x20AC;&#x153;imagination is like a bank; you have to put something in in order to take something outâ&#x20AC;Śâ&#x20AC;?

Shifting Perspectives - Drawing Symposium

Jennifer Thomas jenniferthomas123@yahoo.co.uk I am currently studing Fine art at the University of Wolverhampton. In my childhood my long walks to explore my environment (or playing out as it was known back then) inspired me into a deep appreciation for space. Rural and urban; I require the mix of the two. I have travelled to many different places in my time but now have decided to focus on my artistic side. My current practice comprises of contemporary printmaking with a focus on psychogeography, walking in the urban environment.

The drawing symposium was a welcome respite break from the university. It was held offsite in Underhill at the edge of Wolverhampton. During the first visit to the farm, my artistic environment sensors, tingled from the never-ending wishing well, to the cobble stones. It was like spookily stepping back in time. The mix of MA and BA students was very friendly and informative during the programme and we learned how to let go of rigid constraints of drawing and mix in science and artists talks. The four days flew by way too quickly. Who knew that drawing could be such enjoyable fun! My poem was produced from a visit to an old pasture that I visited on the second and third day of the experience. This meadow land was nothing short of mythical. I have been exploring urban spaces during the last few semesters at university which are everchanging, busy, rushed and hurried. Time is always a factor that has to be taken into consideration. It was very evident in this pasture that nothing had changed for a very long time and there was not an architectural feature in sight; it was Mother Nature that had dominated this space. I was very aware that there was life all around me, but halfway into this field it felt like time had stopped. I felt like Alice just before she fell down the rabbit hole. I called to my companion and asked her to save me if I fell, but really I was anxious that at any moment I was about to be dragged into another fictional time zone. I focused on making it to the next tree but I was glad to get back to the barn to tell the other students about my unique experience. The next day enthused by my report. From the day before I returned to the pasture with Jacky and Rebecca â&#x20AC;&#x201C; two other students from the drawing symposium group. The outcome was the same. We made it to the end of the field this time but were gaily chatting about childhood adventures and stories we had read as children when we knew the gate was in sight. It was like this golden field had given us back memories from childhood that city living and time had taken away. On return to the barn, Su Fahy enforced her new movement called forced art and she directed me to write a poem.

Shifting Perspectives - Drawing Symposium

Many days have passed many nights have worn, But nature has kept and nature has grown, Your monolithic structures are standing tall and proud, I am honoured to be surrounded by these trees Of which there are many. Trees always find a way, To survive against all eventuality, With animals living at your foot, Leaving their homes for wonder, The weft and warp of this pasture land, Eschews you underfoot each ascension you make Unsure to take the hills and mounds each step has found, An incommodious dance. To make it to the next tree, Where the ground is sure, A pleasure it has been to be the two that have seen, Such a place of noble grace and stature Where nature has grown through all forlorn To reveal this mythical pasture.

Jennifer Thomas Shifting Perspectives - Drawing Symposium

Julie Marcus j.m.marus@wlv.ac.uk

Shifting Perspectives - Drawing Symposium

Stephanie McPaul smc.mcpaul@gmail.com

Shifting Perspectives - Drawing Symposium

Drawing by Rebecca Collins

Web Resources: https://drawntogether.wordpress.com Drawn Together – a collaboration in performance drawing / online catalogue of drawing methodologies. TRACEY Drawing Website www.drawing-research-network.org.uk look under Research Themes Section of the website .and see the publication Drawing Now: Between the Lines of Contemporary Art (Tracey) (IB Tauris: 2008). Monographs are a useful introduction to models of practice – recommended: Idris Khan, Cy Twombly, William Kentridge, Emma Stibbons, Charles Avery, Antony Gormley Contributors Bibliography Drawing Methodologies:

Betty Edwards, Drawing on the Right Side of the Brain, 4th Edition (Taschen : 2012). Robert Kaupelis, Experimental Drawing (Watson Guptill : 1992). Drawing as Contemporary Practice:

Jordan Cantor, Igor Zabel, Emma Dexter,Vitamin D2: New Perspectives in Drawing (Themes) (Phaidon: 2005) Marina Cashdan and Carina Krause, Vitamin D2- New Perspectives in Drawing – updated version with an Introduction by Christian Rattemeyer Associate Curator of Drawings at the Museum of Modern Art in New York (Phaidon: 2013). Cai Guo – Quiang, Fondation Cartier pour L’art (Thames and Hudson : 2008) Briony Fer, Gabriel Orozco: Thinking in Circles (Gabriel Orozco, Thinking in Circles, Fruitmarket Gallery : 2013) . Steve Garner, Writing on Drawing: Essays on Drawing Practice and Research (Intellect : 2008). Laura Hoptman, Drawing Now: Eight Propositions (New York, Museum of Modern Art : 1983). Tania Kovats ed. , The Drawing Book: a survey of drawing the primary means of expression (Black Dog Publishing: 2007) Mick Maslen and Jack Southern, Drawing Projects: an exploration of the language of drawing (Black Dog Publishing: 2011) . Marshall Meskimmon and Phil Sawden, Drawing Difference: Connections Between Gendered Drawing (I.B.Tauris: 2016). Anna Moszynka, Antony Gormley Drawing (British Museum Press : 2002). Deanna Petherbridge, The Primacy of Drawing: Histories and Theories of Practice (Yale University Press: 2010).

Published by artists participating in the Shifting Perspectives Symposium Shifting Perspectives journal ÂŠ University of Wolverhampton 2017