Rosary Drawing XII, 2015

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[Rosary Drawing XII performance, rehearsal in studio, Birgitta Hosea, 2015]

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[Remnants from Rosary Drawing XII performance, Birgitta Hosea, 2015]

This work was developed by Birgitta Hosea during a residency in a former convent in Atina, Lazio, Italy that was organised and curated by Rekha Sameer.

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Although brought up aetheist, Birgitta Hosea spent the entire residency drawing her recently deceased and much mourned Swedish grandmother’s broken rosary beads and trying to learn more about the Catholic faith of her mother’s family.

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The more she drew, the more she began to think about about both of her grandmothers, one Swedish, one Scottish, and indeed about all of the women who work tirelessly and selflessly for their families: invisible labour that is taken for granted and forgotten about.

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[Image by Chris Simpson, 2015, cropped]

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By the 12th drawing, she decided to use the tools and materials of domestic cleaning to make a drawing of the rosary beads – scrubbing away the paper to create the highlighlights on each bead. As the antique Roman floor was too delicate to make a performance using scouring on, out of the the many drawings she had made, at the final exhibition she chose to only show these.

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[Rosary Drawing XII, Atina Residency exhibition, Palazzo Ducale dei Cantelmo, Atina, Italy, 2015]

For Hosea, this work captured everything she had learnt on the residency – that the actions of cleaning and the time taken to scrub each piece of paper could be recorded in a sequence of images that ressemble a filmstrip.  Like a filmstrip, the rosary is also a device to record actions over time – the prayers that are supposed to be said for each bead. So for her, this work is a type of animation.

Asked to submit experimental animation for Beyond Noumenon, an exhibition and forum at Sichuan Institute of Fine Arts in Chongqing, China, she submitted a proposal to perform this work as a piece of live animation and, to her surprise, was accepted with great enthusiasm and generosity by curators Tingting Lu and Tianran Duan.

She then performed the drawing at the private view next to other wall-based sequential images she had made. Scrubbed clean of all makeup, on her hands and knees, she said invocations while going through the rosary beads and scrubbed one piece of paper for each bead on the string.

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[Rosary Drawing XII performance, Birgitta Hosea, Sichuan Institute of Fine Arts, 2016]

Following this exhibition, she performed the work again at 51% Remember Her, a group exhibition of feminist art curated by Rebecca Feiner at Tower Gallery, London.

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[Rosary Drawing XII performance, Birgitta Hosea, Tower Gallery, London, 2017]

Click here to view the 51% Remember Her catalogue: 51%_Catalogue

This work then became part of her solo show Erasure, at Hanmi Gallery, Seoul, Korea in 2018. View catalogue here.

Interview about the show by Studio International.

Footage of the show (silent) with video documentation of Rosary XII performance at the private view:

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Notes on a Table (Kleine Red), 2016

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Notes on a Table (Kleine Red), 2016 (75cm x 123cm)

This table top drawing was made by Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall in July 2016, in Kleine Wharf, Hackney immediately before attending the anti-BREXIT demonstration.

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Lily the Cowboy, 2014

Maryclare Foá performing as Lily the Cowboy with  Regine Bartsch, as part of Bartsch’s residency at C4RD (the Centre for Recent Drawing), London, October 2014.

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Lily the Cowboy for C4rD Regine Barsch residency 2014

Updating this blog

Oh dear, we’ve been too busy to update this blog for a few years, so over the next few weeks, we will be posting updates about some of the recent activities that we have been doing individually or collectively.

Drawn Conversations

Having completed our first tabletop drawing in 2010, in which the four artists drew while responding to sound and chatting about drawing, Drawn Together met up 5 years later to complete a second for the Drawn Conversations exhibition in Coventry. Working in the same space as for the previous work, we used this opportunity to reconnect through the use of line.

This exhibition was curated by Jill Journeaux and Helen Gorrill as part of the symposium Drawing Conversations and the catalogue can be downloaded here.

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Notes on a Table I (After John Cage), detail, 2010

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Notes on a Table I (After John Cage), 2010 beside Notes on a Table II (Reunion), 2015

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Notes on a Table II (Reunion), detail, 2015

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Notes on a Table II (Reunion), detail, 2015

 

Drawology

Drawology, an exhibition curated by Deborah Harty as part of her research project, ‘Drawing is phenomenology’ at the Lanchester Gallery, Coventry, featured work by Maryclare Foá and Birgitta Hosea who exhibit their collaborative work under the name Foá + Hosea.

The exhibition catalogue is now available online here.

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Foá + Hosea, Traion IV (Coventry), (2014, digital drawing loop, 30secs)

In the old British expression, ‘being sent to Coventry,’ an individual who is present is ostracised by others, in effect ignored as though not present. The phrase may have originated around the 1600’s when civil war Royalist soldiers who were sent to Coventry were ostracised by the parliamentary population there. As part of their Traion series, Foa+Hosea examine and mark this sense of absent presence in a new piece of work created specifically for Drawology.

In the Traion series, Foá+Hosea respond to the myth of the first drawing, in which Butades’s daughter traced the outline of her lover’s shadow on the wall to hold on to his memory before he left on a journey. Foá+Hosea engage with this dilemma     – the impossibility of attempting to hold time – through fixing their digital shadows in place with animation. In the title of the series, the words ‘trace’ and ‘motion’ are merged to reference their process of drawing over film, in which evidence of presence and motion is traced.

Being not present yet maintaining some evidence of presence references Emmanuel Levinas’s idea of absence and presence. Levinas observed how those who no longer exist bodily in the world, leave behind them a physical evidence of their presence. As Derrida in his re-reading of Levinas tells us, ‘ He will not have been (a) present but he will have made a gift by not disappearing without leaving a trace’ (Jacques Derrida in Re-Reading Levinas, 1991)

Traion IV (Coventry) brings to this scenario of ‘being sent to Coventry’ a constructive retelling. On a train journey Foá+Hosea while literally sending themselves to Coventry, attend to, rather than ignore, each other’s presence. Tracing their physical selves as they travel, they also record the journey itself as seen in the passing landscape. In the work, the absence of a presence is drawn into an animated trace, not ignoring but celebrating the non presence through documenting the motion of those no longer there.

SEeAFAR: 27th Sept – 5th Oct 2014

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Fresh from the Folkestone Triennial Fringe, this touring exhibition curated by Birgitta Hosea brings together new work from Foa + Hosea, Carali McCall, Anne Robinson, Sarah Sparkes and Thurle Wright. Using a range of media – drawing, animation, performance to video, light installation, painting and collage, the works engage with living with the constant presence of an absence through the metaphor of waiting for someone to return from sea.

OPEN FROM 12-6pm on: 27th, 28th September and 1-5th October

PRIVATE VIEW: Friday 26th September 6-8pm – if you would like to attend – register for the Private View on Facebook or EventBrite

[Invite image Jane Conquest Rings the Bell (detail) Sarah Sparkes, mixed media, 2014]