About Drawn Together

In 2008, while studying as practice-based PhD students at the University of the Arts London, MaryClare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall began collaborating under the name Drawn Together on projects to address the relationship to body and presence, time and space through performance drawing.  They completed a number of projects including exhibitions, live performances and residencies. Then in 2011, the group changed its name to PDC (Performance Drawing Collective), to more precisely describe our activities. From 2015-7 they temprarily reverted back to the name Drawn Together. Continuing to work in collaboration as well as individually, more recently, they decided to do away with labels and to collaborate under a combination of their surnames as Foá, Grisewood, Hosea, McCall.

Tracing a dialogue with the line in their individual practice, they collectively materialise performances incorporating mark-making, animation, sound and video. The artists’ diverse practices intersect through the shared concerns with how performative drawing can in different ways reveal temporal and spatial understanding of place and space. Their personal approaches allow numerous narratives to be played out in a single location.


Maryclare Foá’s work is concerned with drawing in response to the outside environment. She draws to communicate with place and to examine the relationship and affects between place and practitioner. Making work in public spaces conditions the action into a performance for the passer-by. Through interacting with outside spaces by leaving temporary trace marks on, in, and around an outside place, she has come to understand that sound is also a method of drawing. She uses her voice to sound through place, echoing, resonating, and responding to a particular location. She is currently working towards developing a contemporary songline methodology, “driftsinging” through place, while also exploring score and sound drawing processes.


Jane Grisewood explores themes of time and transience, place and memory through works on paper, photography, performance and writing.  She shifts between media and uses repetitive processes to form a link between the act of making, retracing memory and recording movement.  Drawing is the key activity in her work, and the ‘line’ is a consistent subject throughout her practice. The line is a journey, a between space, always in movement. Recent work focuses on live performance drawing, where she experiments with the line as a fluid and multi-layered process of recording rather than as a linear progression, providing a way of marking a temporal presence, while also tracing its passing.



Birgitta Hosea is interested in the area in which animation meets live performance. Her work investigates the performativity of animation. Is an animator performing by proxy? Is animation a performative act? Is it possible to be both ‘animator’ and also ‘animated’ at the same time? She describes her practice as post-animation in that she uses digital animation techniques and applies them conceptually to a fine art context without necessarily making animated films. Rather, she combines a range of media – manipulated video, paper sculpture, animation, live video feeds and interactive technology – with the live body.


Carali McCall’s aim is to explore the differences between two overlaid processes: ‘mindless’ repetitive gestures and controlled methods of action. She combines concepts of performance, drawing, and sculpture to explore these processes. By continuously drawing with graphite on paper, each performance is an exposure of time. It is a test of strength and desire, fixation and fatigue. Having previously made sculpture and video works by performing in front of the camera, her recent interest is in live performance drawings.  The enduring process of drawing has been an integral part of developing a new concept between performance and sculpture.


One response to “About Drawn Together

  1. Pingback: A deeper understanding the themes of this course | Inger's OCA log for IAP

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