Drawing Paper 5

DR AWING PAP ER#5

INTRODUCTION Sometimes an idea develops and becomes more than you thought it would be.

Drawing Paper 5 is published on the eve of our installation of a Drawing Room at Metal in Liverpool as we prepare to be considered for the Liverpool Art Prize 2012.

We are very happy that Drawing Paper has been shortlisted and we decided to invite the other shortlisted artists to contribute this time to produce a Liverpool Art Prize special edition. Alan Dunn, Tomo and Robyn Woolston are all therefore included so you are now looking at a souvenir issue.

Since Drawing Paper 4 was published last year we’ve taken the spirit of our publication into Drawing Sessions – a 12 hour marathon drawing event organised in partnership with The Royal Standard artists’ collective. Our stimulus for the day was very ably provided by music and sound makers from the Liverpool network of artists and performers. It was, we think, a great success and we were really pleased to see visitors getting inspiration and energy from the day – and producing work that continues to challenge the boundaries of drawing. We hope to take the idea to the next level by organising another similar event, on a larger scale, during this years’ Liverpool Biennial in October 2012. If you check our blog we’ll keep you posted.

Drawing Paper is a freely distributed, not-for-profit publication funded and made possible solely by its contributors.

Our featured artists pay an equal amount for their page which in total covers the production costs. With this model it is possible to be liberated from the tedious rigours of funding applications and criteria guidelines, enabling us to do things on our own terms – Drawing Paper is a logo and advert free zone. ... ... ... ... ...

If you would like extra copies sent to you or your establishment please email us at drawingpaperemail@gmail.com We are looking for distribution outlets (gallery shops, studio groups, book stores).

If you are interested in stocking Drawing Paper please email us for details: drawingpaperemail@gmail.com ... ... ... ... ...

Sincere thanks to all our contributors for their support, encouragement and enthusiasm.

All artworks copyright © The Artists Published April 2012.

Back cover photo: Mike Carney Published and designed in Liverpool, UK

by Mike Carney and Jon Barraclough. www.mikesstudio.co.uk www.jonbarraclough.co.uk Printed in a limited edition of 3000 by Sharman and Company, Peterborough. www.sharmanandco.co.uk ... ... ... ... ... drawing-paper.tumblr.com Find ‘Drawing Paper’ on Facebook.

JONATHAN KIPPS Stack (Drawing) Acrylic and emulsion on oil paper.

508 x 406mm. (2012)

ANDREW FOULDS Untitled Pen, pencil and ruler on paper.

580 x 370mm. (2012)

CAITLIN MASLEY Unbuilt#5 Graphite, ink, whiteout and acrylic on paper.

203 x 266mm. (2010)

JON BARRACLOUGH Bringing in the Sheaves Graphite and charcoal on cardboard with erasure.

590 x 840mm. (2012)

DAKSHA PATEL Diffusion 1.2 Pencil on paper.

650 x 650mm. (2011)

MIKE CARNEY Unfolding Ink, pencil, chinagraph and dry transfer on paper.

210 x 297mm. (2012)

RACHEL CATTLE Untitled Ongoing series (got to lose control, got to lose control, got to lose control and then you take control) Pencil on paper.

297 x 210mm. (2012)

NAOMI KENDRICK Untitled Large No / Music Charcoal on paper.

2720 x 2790mm. (2011)

MARY GRIFFITHS LB 42 Watercolour on paper.

210 x 297mm. (2011)

TOMO Death Of A Lifter Drawing inks on reclaimed board.

450 x 630mm. (2012)

ALAN DUNN Everyday People: sixteen four-second drawings on postcards of people carrying things while passing my window Ink on postcard. (2011–12)

NICK KENNEDY Faultlines (Ten Hour Study) Graphite and acrylic paint on paper.

259 x 350mm. (2012)

ROBYN WOOLSTON Last Multi-media. (2011)

GINA CZARNECKI Contagion compilation 1 – Virus / Pedestrian / Contamination network Digital drawing / print.

290 x 420mm. (2005)

SUSAN LEASK all about me Pencil on paper.

245 x 190 mm each. (2005 – present)

TROY MENDHAM FUCK DEATH LETS RIDE Pen & Ink on paper.

150 x 135mm.(2012)

JONATHAN PILKINGTON Waiting Room Pencil on paper.

420 x 290mm. (2012)

EVANGELIA SPILIOPOULOU Office Drawing #156 (2012) Office Drawing #132 (2011) PDF file. 420 x 297mm each.

RACHEL ANN KURDYNOWSKA China Rabbit Pencil on Bristol Board.

297 x 420mm. (2011)

ABOUT THE ARTISTS

ANDREW FOULDS ( UK ) Drawing offers Andrew a counterpoint to his more general practice as a painter and maker of sculptures, where he relishes exploring the messy and scruffy nature of the materials used. The drawings he makes are refined, precise and meticulously constructed, traversing the line between science and art.

GINA CZARNECKI (UK) 1. Contagion: Virus The isolated virus in swollen ring.

JON BARRACLOUGH (UK) Sowing in the sunshine, sowing in the shadows Fearing neither clouds nor winter’s chilling breeze By and by the harvest and the laboured end We shall come rejoicing bringing in the sheaves!

Words by Rev. Knowles Shaw (1834 – 1878) Jon Barraclough will be exhibiting as part of the Birds’ Ear View Collective at Victoria Gallery and Museum, Liverpool, 31 May to 30 August 2012. jonbarraclough.co.uk

2. Contagion: Pedestrian Images mapping the movement paths of people above federation square are re-drawn onto a grid formed from dried urine crystals photographed through an electron microscope. deep in the shadows lies a threat – an invisible virus. Contagion models the spread of the virus amongst past, and present visitors using rules and bahaviours based on the epidemiology of sars.

3. Contagion: Contamination Network The tiniest movements of the people in the installation space are tracked and made visible as colored smoke. New colours and sounds are created as visitors paths collide.

The audience draw the lines with their bodies and mix colours. by mingling with one another.

The date and time of connections / cross contaminations are momentarily visible.

Cross contamination causes reactions, either the virtual death of the participant where they become grey and gradually disappear or recover to full colour. The reaction triggers images, the sequences of images are decided by actions and response. www.ginaczarnecki.com

MIKE CARNEY (UK) Intricate, intuitive, abstract compositional challenges. Controlled yet expressive.

Harmony here, chaos over there. Uneasy relationships. Contrasting aesthetics and ideals. These are the kinds of drawings Mike enjoys producing right now.

Mike is a studio member at The Royal Standard, Liverpool. www.mikesstudio.co.uk

RACHEL CATTLE (UK) The Departure, a publication made in collaboration with Steve Richards is published by AND Publishing spring 2012 and future exhibitions include a three person show at Maureen Paley, London in 2013.

ALAN DUNN ( UK ) Everyday People is a series of four-second drawings on postcards from Dunn’s studio window, capturing people as they go about life between home and work, usually carrying items such as newspapers, laundry bags, The Guardian, broken computers, skateboards, school projects or unidentified heavy objects.

Alan Dunn (born Glasgow 1967) studied at Glasgow School of Art and The Art Institute of Chicago. He was Liverpool’s footballartist-in-residence during Euro’96 and lead artist on the community webcasting project tenantspin. He specialises in non-gallery collaborative work and has developed content with Bill Drummond, John Cage, Yoko Ono, Gerhard Richter, Mike McCartney and Carol Kaye and has developed projects for Rio de Janeiro, Los Angeles, Bergen, Shanghai and New Delhi. www.alandunn67.co.uk

Recent exhibitions and performances include The Anti-library, curated by Paul Pieroni, Space, London; Outrageous Fortune, curated by Andrew Hunt – Hayward Touring / Focal Point Gallery; Drawing 2011, The Drawing Room, London; Black Hole Hums B-Flat, Barbican Art Gallery, London; Picture This, This Is Not A School, Five Years, London. www.rachelcattle.co.uk

In his piece produced for Drawing Paper 5 Andrew sets himself the challenge of finding the space which exists between the solid and the ethereal. An object dislodged in time or faltering at the edge of its own existence.

For the past two years Andrew has been a studio member and director at The Royal Standard, Liverpool. www.andrewmarkfoulds.com

MARY GRIFFITHS ( UK ) Through use, a tablespoon has been worn down by a right-handed person. Its nickel base is exposed where the thin coating of silver has been rubbed away and its handle has darkened where it has been gripped.

The drawn version of the spoon is a stain of watercolour on paper and relates to drawings I have made from burnished graphite. These ‘black drawings’, in some ways, allude to early photography where the shadows of the living are cast within the tarnished surface of the photograph.

Mary Griffiths graduated from Manchester School of Art in 2009. Her work has been shown in the UK, Helsinki and San Francisco and her book, Pictures of War, was published

by Carcanet in 2009. Griffiths is Curator of Modern Art at the Whitworth Art Gallery, Manchester, where she has worked since 2000. Her work is showing at Bureau in Manchester until 12 May. marygriffiths.com

NAOMI KENDRICK ( UK ) My drawings are the development of a language, their form, scale and array of marks visually close to a scrawled written language at times, are a record of sensations experienced, a moment felt. Created in a state where the conscious and unconscious have to be carefully balanced and sensorial triggers paid attention to, my body becomes as much a part of the drawing process as my mind.

I use different drawing processes to complement or provoke different states of mind; drawing in response to music, alone, with musicians in a studio, or for a live audience. The music becomes an enabler, a direct route to the hidden in me. When drawing without music I attempt to fall into the same place, to bring forth psychological rhythms and forms, only this time in silence.

Doing the drawings is to feel more than think; they are a release, the results a surprise. www.naomikendrick.co.uk

RACHEL ANN KURDYNOWSKA (UK) The exploration of drawing is seen to be a private act committed by myself, the artist.

Using the medium as a form of meditation, has lead me to see my practice as one of a cathartic nature. Through possible repetition and lack of narrative, I am able to indulge myself into the process of pencil to paper, and concentrate on nothing else. I hope that a sense of pointlessness is arrived at from viewing my work and so directing my audience on to the route of ‘making’ rather than what has been ‘made’. Highlighting the idea that drawing can be philosophically stimulating for the mind of artists, yet aesthetically pleasing to the eye of an audience.

NICK KENNEDY (UK) Nick Kennedy is a visual artist based in Newcastle upon Tyne. Working across a range of media, including drawing, sculpture, installation and performance, his practice can be seen as an ongoing exploration of ideas around chance, order, play and serendipity.

The act of drawing is central in his investigation of the creative process.

Sometimes, mechanical devices or tools are introduced to challenge his control over the process of making. Often, it is a strict system or a pre-determined set of rules that define the process of making. The conflict between chance and influence, order and chaos, success and failure is central to all works.

Faultlines (Ten Hour Study) relates to a body of site-specific drawing installation work.

Beginning with an arbitrary form, consecutive lines are carefully traced out one by one, each new line determined by the contour of its predecessor. The small mistakes and imperfections that occur are faithfully copied, over and over, creating a visual echo of cumulative error across the surface.

A newly commissioned wall drawing Faultlines (Anthropometric Variations) will be shown at Smiths Row Gallery, Bury St Edmunds in May 2012 as part of the exhibition Powerhouse. nick-kennedy.co.uk

Rachel will be exhibiting at Norwich University College of the Arts Undergraduate Degree Show 2012, 27 June – 3 July 2012 www.rachelkurdynowska.co.uk

Troy will be exhibiting at ‘Un:sighted’, a group exhibition by six abstract visual artists, 17 – 28 July 2012, Fortyfive Downstairs, Melbourne, Australia.

SUSAN LEASK (UK) The drawings are part of an on-going series of drawings and photographs called all about me.

The series began in Finland in 2005 where I tried to capture moments of light as the intense summer light of the Northern hemisphere bounced and sparkled off walls, paths and water. It began as photographs and video and later I started to make drawings from them.

The series has split into two, moments of light and all about me. All about me should be self-explanatory and has become a visual journal of my movements here in Liverpool and on various artist residencies and other trips in the UK and abroad.

Susan will have a solo exhibition, Those who left, those who stayed at The Bonhoga Gallery, Shetland from 16 June – 29 July 2012 and will exhibit alongside Anna E Stark at Atelier Stark, Cologne Germany in September and October 2012 as part of Here, There, Everywhere, Liverpool in Cologne, Germany 2012. susanleask@yahoo.co.uk

JONATHAN KIPPS ( UK ) I create sculptural forms, using painting materials, which sit directly in the viewers’ space. I try to build a dialogue between the illusionistic spaces of perspective and composition inherent within painting, and the experience of navigating real space around my objects.

There is a pictorial and compositional quality inherent in painting which informs my thought process and, as an extension of these ideas, I started a series of drawings.

Life-drawing techniques of ‘negative space’ utilise flat background colour to highlight the sculptural form and gestural marks are used to quickly articulate sculptural characteristics. The drawings speak a similar language to the objects, but use a slightly different dialect as they look at sculpture through the lens of painting and drawing: 3D structures are represented and flattened pictorially, using the materials of which the original objects were made. www.jonkipps.co.uk

TROY MENDHAM (AUSTRALIA) Faster, faster faster! until the thrill of speed dissolves the fear. A thump in the groin, a buzz in the head, a big grin on the face.

Oh yeah, this is what it is. Two full sketch books, two days straight drawing. A few hundred sketches by the end of it. Forced to choose I bin the rest and pick one. Suddenly the status has changed to that of the exalted, finished piece of work. The wild seed becomes the exotic flower.

www.troymendham.com

EVANGELIA SPILIOPOULOU ( UK ) The Office Drawings (2009 – ongoing) outline my interest and exploration on the forms of art deriving from the culture and habits of contemporary urban life. Detaching the work from the sublime beauty of academic drawing, the ritualistic invention of techniques and the overtaking labour investment, I suggest a form of cultural creation originating from the internal restructure of our existing habits in life.

Evangelia Spiliopoulou graduated from Athens School of Fine Arts (BA Hons) and completed an MA in Fine Arts at Manchester Metropolitan University.

DAKSHA PATEL ( UK ) Daksha Patel’s practice responds to the images produced by medical visualisation technologies such as X Ray, CT and MRI scans through the process of drawing.

The Diffusion drawings were commissioned for the light boxes at Piccadilly train station, Manchester. They map environmental data about air quality (carbon dioxide, nitrous oxide levels) upon the biological structures of the human body. Daksha worked with GIS (geographical information systems) and images from the Wellcome Trust contemporary medical collections during research stage.

In September 2011 she was selected to participate with a drawing at Tate’s project From Evening Till Night. Her work was nominated for the Drawing Room Bursary 2011 and was shortlisted for the New Contemporaries 2010. Her work has been exhibited at Bureau, Manchester and Peep-Hole, Milan.

Evangelia is a studio member at Rogue Studios Manchester and is represented by Bureau, Manchester. www.bureaugallery.com/artists.asp

Diffusion 1.2 was inspired by a transmission electron microscopic image of a mast cell with histamine granules and a dot map of air pollution emission sites in Greater Manchester.

CAITLIN MASLEY ( USA ) Caitlin Masley has an MFA from the University of Arizona. She has won several grants and fellowships, including an EFA from the Socrates Sculpture Park, PollockKrasner Fellowship, Puffin Foundation and the Foundation for Contemporary Art Emergency Grant among others. Ms. Masley has been an Artist in Residence in Austria, Germany, Quebec, Norway and Switzerland with accompanying exhibitions and catalogues. Group exhibitions include MOMA/PS1, Center for Built Environment, Storefront for Art and Architecture, Islip Museum and Urban Institute of Contemporary Art. In 2012/13 Ms. Masley will produce new installations at the McColl Center for Contemporary Art, Kingston Museum of Contemporary Art and Territories Unknown at the College of New Rochelle. Most recently Ms. Masley has been in residence at the Manhattan Graphics Center and Triangle Arts Foundation in New York. www.caitlinmasley.com

Daksha is currently a practice led researcher at Northumbria University. Her research project engages with historical and contemporary medical collections through the process of drawing. www.dakshapatel.co.uk

JONATHAN PILKINGTON ( UK ) The interrogation of aspects within drawing and how the use of subtle and gestural mark making coincide with the notion of painting and are thematic of my practice. Questioning the definition of a drawing and the creation of something that oscillates between realism, figuration and abstraction. Drawings are made with the intent to be viewed somewhere between aesthetic value and functionality.

Representation within an image is important and the relationship between the sourced images and drawings is almost collage based, culminating in a contrived fictional environment. www.jonpilkington.co.uk

ROBYN WOOLSTON (UK) Woolston intervenes within supply chains, re-appropriating product, meaning and metaphor. Located somewhere between Process and Povera, she presents a ‘rhizomatic’ assault on systems that place financial ‘profit’ above societal ‘value’ in a world defined by finite resources. By focusing upon situational dynamics she creates installations that question, or illuminate, hypermodernity’s propensity toward soulless homogeneity. The nature of the personal and the public, the geo-political and local is brought into question when the motives of the machine are revealed in correlation to the autonomy of the individual.

Last (2012) forms part of a synthesised project that began with Smart Price at Threshold Festival 2012. The body of work questions the ethics and viability of cradleto-grave processes that drain natural resources with little or no regard for the minerals, materials and people they utilise.

TOMO ( UK ) My name is Tomo, I am from Liverpool and I like scribbling, dusty old funk records, fresh air, people, fig rolls, kung-fu films and cycling. I’m also partial to making a bit of art now and again and have adopted a work ethic of recycling and working with whatever materials I can find, often striving to transform waste into art. I like to think of this as a kind of alchemy and everything seems to be moving along alright. Thank you for looking.

Death Of A Lifter is quite a personal piece about life, love, death, nature, travel and the unknown. Inspired by my hitchhiking journeys, this idea entered my mind some time ago whilst standing at the side of a road in the Netherlands and never really went away. I suppose this one is both the journey and the destination but don’t take it too seriously. www.quangowangism.com

Robyn is exhibiting in Istanbul later in the year with the collective she co-founded in 2008 www.postliverpool.com www.robynwoolston.com