Notes on a Table, Folkestone, 2016

Notes on a Table (Folkestone Green) and (Folkestone Blue)
(Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall)

Residency at Whelkboy Gallery, Creative Quarter, Folkestone, August 2016

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MarKings: symposium and festival of performance and drawing

Notes on a Table (House of Illustration) 2016  (performance by Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall)

8-9th July 2016, MarKings, Lethaby Gallery, Central Saint Martins UAL/House of Illustration

Approximately: 240 x 128 cm, conversation, sound, graphite and coloured crayon on paper

Event review by John Miers in Spark Journal

Line Dialogue VI, 2013

Line Dialogue VI (2013), Carali McCall and Jane Grisewood

30-minute performance drawing in front of live audience, charcoal and graphite, overall 400 x 200 cm. ‘Draw to Perform’ exhibition at Performance Space, Hackney, London.

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Homunculous, 2016

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Migration – a slow scattering (2016) images from Maryclare Foà’s initial proposal:

Sketch 1 for Migration at Asylum 2015Sketch 2 for Migration at Asylum 2015

Migration – a slow scattering (2016) performance by Maryclare Foà

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Shadow Ship (2016) projected animation and smashed sugar by Birgitta Hosea

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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:

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