Tag Archives: Birgitta Hosea

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.

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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

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:

Draw to Perform

Draw to Perform is a three-day symposium on performance drawing curated by Ram Samocha at Arbeit Gallery and the ]Performance Space[ in Hackney Wick, London from 5-7 December 2013.

Carali McCall and Jane Grisewood will perform live on Thursday 6th December at the ]Performance Space[ between 6-10pm. Maryclare Foa and Birgitta Hosea will give a performative lecture as part of a series of discussions and talks about performance drawing on Saturday 7th December from 2-6pm at the ]Performance Space[.

For documentation of Carali McCall and Jane Grisewood’s performance see: http://janegrisewood.wordpress.com/2013/12/10/draw-to-perform.

Drawing Animation

November 2010 Issue Animation Interdisciplinary JournalDrawn Together’s work is featured in Birgitta Hosea’s  article ‘Drawing Animation’ in the Drawing Interdisciplinary Journal. Click here to read the abstract: http://anm.sagepub.com/content/5/3/353.abstract.

Drawn Together Artists Websites

We are associated with the International Centre for Fine Art Research.

Each member of Drawn Together has a website documenting their individual practice:

Maryclare Foá
Jane Grisewood
Birgitta Hosea
Carali McCall

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.