Category Archives: post-animation

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

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.

Mormor's_rosary

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]

RosaryDrawings2015

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.

MePerformance_99ys
[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:

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]

Drawn Together featured in Iluminace

Illuminace coverDrawn Together were recently featured in Birgitta Hosea’s illustrated essay, ‘Performativity, Post-animation and How I Became a Cartoon Character’, in which she presents the expanded animation elements of the group’s work. This was translated into Czech and included in the animation issue of Iluminace, a Czech film journal. This issue was aimed at challenging conventional notions of animation.

Photos of ARC: I draw for you performance

Day 9. Thursday January 21st. ARC: I draw for you performance at the Centre for Drawing, Wimbledon.

The four members of Drawn Together drew on the gallery wall with graphite and white light according to instructions written on cards that were called ARCs (Action Relay Collaboration). All photos by Nick Manser and the artists.

the ARC cards

an ARC

ARCs

line process echo repeat2

Drawn Together Residency at the Centre for Drawing, Wimbledon, March 2009.

line process echo repeatfeatures work by MaryClare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall. These four artists, collaborating as ‘Drawn Together’, address their relationship to body and presence, time and space.

DRAWNTOGETHER

 

Tracing a dialogue with the line in their individual practice, ‘Drawn Together’ collectively materialise performances incorporating mark-making, animation, sound and video. Drawing through sound, Foá develops a drawn score and contemporary songline, while Hosea creates a digital performance with projected animation. Led by process and repetitive movement, Grisewood and McCall perform a one-hour wall drawing, marking time and challenging endurance.

In line process echo repeat2 the artists’ diverse practices intersect through the shared concerns with how performative drawing can in different ways reveal temporal and spatial understanding on place and space.Their personal approaches allow numerous narratives to be played out in a single location. 

DT_wimbledon

 

MaryClare Foá’s performance drawing is in response to the environment. She investigates how a drawing affects an environment and how that environment might affect that drawing.

Jane Grisewood uses the ‘line’ and the process of ‘drawing’ lines as a way to explore notions of temporality and transience, place and memory. The line is a journey, a between space, always in movement.

Birgitta Hosea investigates animation as performance. Can animation be seen as a type of performance? Where is the site of the performance? Is the process of creating animation performative?

Carali McCall’s artwork traces the relevant essential aspects of process within performance art and sculpture and contributes to locating the specific area she defines as process-led performance art.

Drawn Together

Performance Drawing

MaryClare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall are collaborating as ‘Drawn Together’ on projects to address the relationship to body and presence, time and space through performance drawing.

Tracing a dialogue with the line in their individual practice, they collectively materialise performances incorporating mark-making, animation, sound and video. In their first collaboration, line process echo repeat, Foá, drawing through sound, developed a drawn score and contemporary songline, while Hosea created an interactive digital performance with projected animation. Led by process and repetitive movement, Grisewood and McCall performed a one-hour wall drawing, marking time and challenging endurance.

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.

Drawn Together… an introduction

Images from Drawn Together

MaryClare Foá’s performance drawing is in response to the environment. She investigates how a drawing affects an environment and how that environment might affect that drawing.

Jane Grisewood uses the ‘line’ and the process of ‘drawing’ lines as a way to explore notions of temporality and transience, place and memory. The line is a journey, a between space, always in movement.

Birgitta Hosea investigates animation as performance. Can animation be seen as a type of performance? Where is the site of the performance? Is the process of creating animation performative?

Carali McCall’s artwork traces the relevant essential aspects of process within performance art and sculpture and contributes to locating the specific area she defines as process-led performance art.