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’.