Trinity Buoy Wharf Drawing Prize at the Royal Drawing School

Trinity Buoy Wharf Drawing Prize exhibition at the Royal Drawing School, Shoreditch, London.

Here are a few pictures of the private view at the Royal Drawing School of the Trinity Buoy Wharf Drawing Prize exhibition. The exhibition has been at its present venue since the start of February but the private view was just last week. I’m glad I went to the private view and it was great to meet artists whose work I admire and who I’d only ever ‘met’ through the medium of say twitter or Instagram until now.

My piece in this show is a small silverpoint drawing which is one of an ongoing series of drawings called: ‘Displaced Portraits’. The drawings are of people seen in photographs taken in Germany in the 1930s and 1940s and found in a Margate second hand shop at different times. ‘Displaced Portrait no:3 (woman in carefully repaired image)’ is drawn from a photograph which had been torn in two and then so carefully repaired that you can’t see the damage at first glance.

The drawing is based on the photograph but it isn’t a straight forward copy. The piece has been repeatedly drawn, scratched-away and redrawn. These drawings are worked on over long periods of time and the process, of loss and re-finding, is unpredictable. The recurring focus is always the person I am trying to draw out of their snapshot image. There is no way of ever really knowing if I’m getting close but I hope the people I am trying to draw would see themselves in my drawings.

Drawing is always a medium trace. At it’s most fundamental level, a drawing is a surface with a mark on it indicating the passing presence of an though; it always says ‘someone was here’. The drawings are of people displaced from their place and moment. An image of their moment has found its way into my hands here in Margate in the early 21st century. Everything which lasts eventually becomes displaced.

Metalpoint drawings emphasise the quality of trace in the most beautiful way. A silverpoint line is the mark left when the metal is dragged across a prepared surface (imagine a key being dragged across an emulsion-painted wall and you get the rough idea). The mark is extremely subtle but it is also indelible. Silverpoint lines are extremely gentle mark; the line is not made any more emphatic by pressing harder and you are forced to work with the medium with its unique limitations and qualities. Drawing with metalpoint is an appropriate medium for my interest in making Art about memory and presence.

The exhibition continues at the Royal Drawing School until 21st February and then moves on to Drawing Projects in Trowbridge, near Salisbury.

See my post from 23rd August 2018 for a full view of my drawing.

Drawing included in a new book about silverpoint drawing

Silverpoint and Metalpoint Drawing: A Complete Guide to the Medium

One of my drawings is featured in a new book about metalpoint drawing titled: “SILVERPOINT AND METALPOINT DRAWING: A Complete Guide to the Medium” by Susan Schwalb and Tom Mazzullo (published by Routledge, IBSN 978-0-8153-6590). It’s just the one drawing, and there is just a brief mention of it, but it makes me happy to have it included in this excellent book. This book is the first complete guide to the medium and includes a history of the medium, chapters on materials and techniques and a section discussing examples of contemporary artists’ use of the metalpoint.

My drawing is one of a sequence of three based on a strip of found photo booth images of my mum. Photo booth portrait drawing 2, 2014-2016, silverpoint on gesso on board (21cm x 14.5cm) is one of an ongoing series of drawings which focus on otherwise unnoticed moments of life. These happen to be of my mum but others use photographs found in junk shops in Margate.

The pieces are repeatedly drawn, scratched-away and redrawn as a way to bring something unexpected into play in the drawings. They aren’t straight forward copies of pre-existing images. Through the repeated process of loss and the re-finding of the image I hope to draw out something which feels more real to me than a simple copy of an image. Drawings take time and the traces of that presence of the passing of time is as much the subject of drawing as the image I feel.

Silverpoint drawings are very obviously the physical traces of moments of touch. All hand-made drawings express qualities of trace, presence and time, but I think metalpoint marks bring these aspects of drawing even more to the fore than other drawing media. The touch of the metal on the prepared surface leaves an extremely subtle but indelible mark. It’s gentleness is one of the reasons I’ve become so interested in silverpoint drawing. The medium sits well with my interest in making art about memory and human presence and of our curious awareness of distances of time.

Beneath the portrait is a block of hand-written text. This text is made up of lines of remembered speech and family stories. As with the portrait drawing above it, it is repeatedly re-written (re-drawn) and each reiteration is slightly altered from the previous version. Certain fragments of sentences and words become more visible through the repeated retelling but always the stories are fragmentary: like memories.

‘Photo booth portrait drawing 2’, 2014-2016, silverpoint on gesso on board (21cm x 14.5cm)

If you’re interested in seeing my drawings for real you can one of my ‘Displaced Portraits’  in the Trinity Buoy Wharf Drawing Prize exhibtion which is presently on show at the Royal Drawing School in London. Also, I have drawing on display at the Sidney Cooper Gallery, Canterbury, which is being used within Sound Artist Emily Peasgood’s art installation, ‘Sidney Cooper’s Living Room’, part of her solo show called ‘Living Sound’.

 

Opening of the 2018 Trinity Buoy Wharf Drawing Prize

Some images from the opening event for the 2018 Trinity Buoy Wharf Drawing Prize.

The opening event coincided with the 20th anniversary celebrations for Trinity Buoy Wharf and was held in The Chain Store. The show is now at The Electrician’s Shop (also at Trinity Buoy Wharf).

My work in the Trinity Buoy Wharf Drawing Prize 2018

 

 

 

 

 

 

 

Displaced Portrait

Displaced Portrait No:9 (from Irina to Feliz). Silverpoint on gesso on board.

Another of the series of ‘Displaced Portraits’ – a series of small silverpoint drawings based on the images of people in photographs taken in Germany inn the 1930s and 1940s and which have found their way into my hands via a Margate junk shop.

There is a handwritten  message on the back of the original photograph which says (in German): “My dear Feliz. To remember happy times with. Irina. 19th July 1942”

Another drawing from this series will be exhibited in the upcoming Trinity Buoy Wharf Drawing Prize which opens in September.

I also have a solo show running presently at The Young Gallery, in Salisbury, called ‘People Being Still Somewhere’.

My work selected for the Trinity Buoy Wharf Drawing Prize 2018

‘Displaced Portrait no:3 (young woman in carefully repaired image), silverpoint, 21×14.5cm.

 

 

 

 

 

 

 

 

 

 

My silverpoint drawing has been selected for the Trinity Buoy Wharf Drawing Prize 2018 and I’m very pleased about that!

The Trinity Buoy Wharf Drawing Prize is the new incarnation of what was The Jerwood Drawing Prize. It’s the main, yearly, Contemporary Drawing exhibition and I see it as a kind annual survey of Contemporary Drawing practice in the UK. It is always worth seeing.

My drawing which has been selected is one of a growing body of work which ‘resurrects’ unknown people (unknown to me at least) from found photographs which were  taken in Germany in the 1930s and 1940s. All of the original images were found in a junk shop in Margate. I came across them all at different times and most of them seem to have been taken in different German towns.

‘Displaced Portrait no: 3 (young woman in carefully repaired image)’ is based on a photograph which had been torn in two and then very carefully glued back together again. This woman now has a kind of afterlife as an art object. What can we tell about a person from the way they appear to us? The fact that the photograph was damaged and then carefully repaired is intriguing.

My drawings are based on photographs but they are not simply copies of them. Details have been altered, tones have been modified, and each has been repeated scratched-away and redrawn and worked on over long periods of time to get to something which feels real to me.

I’m not quite sure what it is I am attempting to do with these drawings. I sort of know but I can’t really say beyond that it has something to do with our experience of time and of human presence. I realise that’s a bit vague but it’s the best I can come up with for now  (I might rewrite this post later). I like to think of my drawings as moments of connection between moments in time. Drawings take time. Hand-drawn lines are traces of presence and of time, and of a mind engaged in the act of looking and thinking. Perhaps in drawing these people I am drawing ghosts.

The selectors for the Trinity Buoy Wharf Drawing Prize 2018 are the artist Nigel Hall RA, the art dealer Megan Piper and Chris Stephens, Director of the Holburne Museum in Bath.

The exhibition will open in September in London and will tour various galleries across the country for the best part of a year. Look out for it later in the year.

I presently have a solo exhibtion at the Young Gallery, Salisbury, which runs alongside the 20th century British figurative artists exhibition, curated by Peter Riley from the Arts Council Collection.