Category Archives: performance drawing

Performance Drawing 2021

Performance Drawing 2021 presents works by international artists whose practice stretches, pulls, pushes and steps across disciplines relating to drawing and performance.

To mark the first anniversary of the publication, Performance Drawing: New Practices since 1945 (Bloomsbury 2020), the Centre for Recent Drawing presents an online show and in-person residency with curated events that extends the initial exploration of works in the book and considers the future of practice at the intersection of drawing and performance. Featured artists’ works were made since the date of writing and develop the book’s themes in new directions: Adelaide Damoah, Birgitta Hosea, Carali McCall, Maryclare Foá, Maurice Moore, Piyali Ghosh, Ram Samocha, sophia bartholomew. 

Adelaide Domoah 

A Litany for Survival, 2019, is a visceral, powerful work by Adelaide Domoah inspired by Audre Lorde’s poem of the same name. In her performance, Domoah addresses physicality and the body in struggle. Her works can be seen as referencing various performance drawing actions in paint, from past to present.  

Maurice Moore 

In Drawing While Black, aka Black Boy Joy, 2020, Maurice Moore marks on brown paper and/or on black board while dancing in a hand-crafted mask. Travelling back and forth in a defiant gestural flow, Moore applies rhythmic marks that references both the joy of dance and the defiance of black queer dance culture. 

Piyali Ghosh 

In Naksha an Untold Odyssey, 2019, Piyali Ghosh embodies drawing and becomes the gestural moving sculpture that is in conversation with the material of her drawn works; addressing elements of ritual and also the performative process. As her body becomes the space, she is performative: interacting with her work and sometimes wearing pieces as costume. 

Ram Samocha 

In Mountain Range Outline, 2020, Ram Samocha traces the ridges of a mountain range in the distance with a tube of condensed milk on cellophane. Responding directly to the landscape, Samocha reimages the scenery and in so doing, also references both the personal and the rural. 

sophia bartholomew 

sophia bartholomew’s work The strand like the spirit: the spirit like the breath, 2021, references the landscape, wind, snow, wide open space. The work expands the notion of performance drawing to include the history of the body’s presence in the environment; using their own voice as a sounding.

C4RD Residency (14th Sept – 14th Oct 2021)

During the residency, Foá, Hosea and McCall will be investigating their individual practice as well as working in collaborations that include drawing, performance and the curation of online events. The aim is to reflect on their publication, Performance Drawing: New Practices Since 1945 (2020), and to address new issues raised by the artists’ work in the exhibition Performance Drawing 2021.

Events Programme:

Performance Drawing 2021 online exhibition in browser-based VR with Adelaide Damoah, Maurice Moore, Piyali Ghosh, Ram Samocha, sophia bartholomew (curated by Foá, Hosea and McCall)  – 14 Sept – 14th Oct

Foá, Hosea and McCall Residency at C4RD – 14 Sept – 14th Oct 

Piyali Ghosh performance on Instagram Live, Sat 18th Sept 5pm (BST)

Ram Samocha performance on Instagram Live Sat 25th Sept 7pm (BST)

sophia bartholomew performance on Instagram Live Sat 2nd Oct 5pm (BST)

Draw to Perform: Ram Samocha interviews Maryclare Foá, Birgitta Hosea and Carali McCall. Sun 3rd Oct 8pm BST.  Book on EventBrite.

Adelaide Damoah, Maurice Moore and Ram Samocha in conversation with Foá, Hosea and McCall. Tues 5th Oct 7pm BST. Book on EventBrite.

Birgitta Hosea/Carali McCall/Claire Zakiewicz performance at Hundred Years Gallery. Weds 13th Oct. Curated by Claire Zakiewicz. Book on EventBrite (link TBC)

Piyali Ghosh and sophia bartholomew in conversation with Foá, Hosea and McCall. Thurs 14th Oct 6pm BST. Book on EventBrite.

On Collaboration: Scores for Drawing

In this presentation, Birgitta Hosea talks about the collaboration between herself, Maryclare Foá, Jane Grisewood and Carali McCall that resulted in the book Performance Drawing: New Practices Since 1945 (Bloomsbury, 2000).

Using material from chapter 3, in itself a collaboration between herself and Foá, she considers the score as a form with which to invite participation and unexpected results when working with others. The presentation concludes with an overview of a participatory project in live animation.

#ARCdrawing

In order to generate some new work from our book, Performance Drawing: New Practices Since 1945, we warmly invite you to take part in #ARCdrawing, a participatory exhibition on Instagram.

We will be printing out each work and exhibiting them in our next show.

If you check out our Instagram profile on @performancedrawing, we have posted a series of ARC directives from our archive, like the one below. These were used in our performance ARC:I Draw for You at Wimbledon Centre for Drawing in 2010.

All you need to do is to respond to one of these instructions in your own way and in any medium you choose. Then tag us @performancedrawing and include the hashtag of the ARC you are responding to. Here’s an example of one of the original ARC directives by Carali McCall.

Performance Drawing: New Practices Since 1945

Published by: Bloomsbury Visual Arts, 2020
Preface written by: Anna Furse. Foreword written by: Bonnie Marranca
Part of the Drawing In series, edited by Russell Marshall, Marsha Meskimmon and Phil Sawdon.

The first book to be published on ‘Performance Drawing’. A visual arts book that features a wide range of artists involved in the expanded field of drawing, demonstrating rigorous academic research. It establishes performance drawing as a vibrant art movement that has been progressively burgeoning since 1945 and contextualises today’s contemporary approaches – questioning what is drawing and what is performance? Each chapter focuses on a different perspective of performance drawing. Embracing the different voices and various lenses, the authors combine individual yet critical methodologies. While embedded in ephemerality and immediacy, the themes encompass body and energy, time and motion, light and space, imagined and observed, demonstrating how drawing can act as a performative tool. The dynamic interaction leads to a collective understanding of the term performance drawing and addresses the key developments and future directions of this applied drawing process.

https://www.bloomsbury.com/us/performance-drawing-9781788313841

About the Authors:

Maryclare Foá was awarded her PhD at Camberwell, UAL; an acclaimed artist with work featured in Drawing Now: Between the Lines of Contemporary Art; and recently shortlisted for Moore Prize. Jane Grisewood awarded her PhD at Central Saint Martins, UAL, where she teaches experimental drawing; her artworks and artists books are acquired in international collections, and recent exhibitions include the Line/Extended at University of Hertfordshire (UHArts). Birgitta Hosea is a time-based media artist and Professor of Moving Image at the University for the Creative Arts, UK. Previously, Head of Animation at the Royal College of Art and Central Saint Martins, where she completed her PhD in animation as a form of performance in 2012. Carali McCall exhibits internationally, awarded her PhD at Central Saint Martins, UAL. A finalist in the 2017 Jerwood Drawing Prize and awarded Arts Council England.

Endorsements:

“Performance Drawing represents a highly developed record of practice-based research, tracing the developments in contemporary drawing, building on precedents that have led to emerging trends. It analyzes the radical departure from the acceptance of drawing as a canonical medium based on mark-making on two-dimensional surfaces, into real space towards performance, light projections, film and the use of new technologies. The texts brilliantly place all these developments into a clearly articulated context.” – Therese Bolliger, artist, Canada

“While narrative forms of drawing have found favor through numerous exhibitions and publications world-wide, drawing as an inherently process-driven performative event is still lacking accessible comprehensive theoretical research. Bridging two centuries of contemporary practice, Performance Drawing will fill a huge gap for artists, teachers, scholars and art publics.” – François Morelli, Concordia University, Canada

“A valuable historical primer that examines key examples of performance drawing from the last half-century and challenges established definitions and categorisations. The authors draw a picture of the changing boundaries between art forms, showing how the blurred lines between artistic disciplines are the product of an active performative process. In addition to practitioners, this should be read by anyone interested in emerging art practices.” – Malcom Cook, Associate Professor in Film, University of Southampton

WE ARE SOCIAL / Please contact for any further information.

Twitter / Instagram / Facebook:

@performancedrawing   #performancedrawing

@r.andf.mo

@janegrisewood

@birgittahosea

@caralimccall

 

Blind Lines

Blind Lines, Jane Grisewood 2019
Line/Extended,Art and Design Gallery, University of Hertfordshire

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Jane Grisewood works across drawing, photography, print and performance. Her practice is an ongoing exploration into time and memory where line, repetition and duration are recurring themes. Grisewood uses her body as a performative tool to create a line. During the opening reception of Line/Extended, Grisewood recreated her two-hour drawing performance Blind Lines in which she drew with graphite directly onto the Gallery wall with her eyes closed throughout. Visitors were invited to replicate the action and sensation of drawing ‘blind’ – exploring the relationship between artist and viewer.

‘UH Artists in Conversation’

“For Jane Grisewood in particular, the meditative process of drawing over a large vertical surface, with her eyes closed, is a meditative process that draws her attention inwards for the 2-hour duration of her performance.”

Dr Barbara Brownie

Blind Lines 2014-19
Performance Drawing, approx. 2 hours

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Embodied Drawing Workshops

Embodied Drawing Workshop led by Maryclare Foa, Andrew Hall and Birgitta Hosea, Drawing Research Network Conference, Loughborough University, 2019

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Embodied Drawing Workshop led by Birgitta Hosea (planned with Maryclare Foa), Hackney Wicked Festival, 2019

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dotdot dash

dotdot dash, Birgitta Hosea 2018-9

Participatory light action with lasers and improvised voice designed for public space. Originally commissioned by InspiralLondon. More info here.

Night Walking North Kent Festival, Gravesend, 2018:DDD2018-04-20 23.40.112018-04-20 23.40.322018-04-20 23.42.05

London As Park City Festival, Regents Canal, 2018:DDD_KX2018

Directions for the visual music come from a chance-based score made by walking on musical paper:DDDscore01

EMPIRE II (2017-19)

EMPIREIIparis

Empire II is a touring exhibition of artists film curated by Vanya Balogh. Originally devised for the 57th Venice Biennale in 2017, different iterations of the show with additional works were exhibited at venues including Castello 1610/A, Venice Biennale; Brussels Art Week; Unit 1 Gallery, London; White Post/Corridor Gallery, London; SPEKTRUM, Berlin; Provincial Project Space, Kendal, Cumbria; (2017); Haus Gallery, Tallinn Art Week, Estonia; Rogue Gallery Studio, Hastings; Super Pop, Madrid; Etablissement Culturel Solidare, Paris (2018) and 58th Venice Biennale; Oaxaco Museum of Contemporary Art, Mexico (curated by Vanya Balogh and Marissa Polin, 2019).

Works included:MM Kizi Film Still Title Nearly not quite
Nearly, Not Quite (Short film, Maryclare Foa as M.M.Kizi, 2017)

TensioneTensione: How is that going to work? (Short film, Jane Grisewood, Carali McCall, 2017)

Erasure_still03Erasure (Animation, Birgitta Hosea, 2017)

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Each artist made additional photo works for EMPIRE II: Playing God, a new version of the exhibition for Tallinn, and abstract videos for a new section, The Void, shown at MACO, Oaxaca and 58th Venice Biennale.

DzS9gHIWoAAF8oKEmpireIIMACOPosterRoomMACOPosterRoomMACO2PlayingGodMACO_textAll the Ghosts I Know and One Other R&F.Mo.2018JPGAll The Ghosts I Know and One Other, Maryclare Foa (as R&F Mo), 2018

Bird4_flattened_webUntitled Hitchcock Still #1,  Birgitta Hosea, 2018

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TheVoid2TheVoidTheVoid4

 

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