Drawing Conversations.org

The second Drawing Conversations internal symposium, convened by Jill Journeaux, Helen Gorrill, Imogen Racz and Sara Reed, took place at Coventry University on Friday 8th December 2017. ‘Drawing Conversations II: Body, Space, Place in Collective and Collaborative Drawing’ considered interrelationships of drawing, body, space and place and the notion the body as conduit between interior and exterior, private and public. Drawing as an elastic and expanded interdisciplinary practice can range from two-dimensional mark making to more spatial languages that can involve capturing movement, mark or gesture, and can be sticky or temporal. The call for papers asked how we might understand the processes of making movements, marks and gestures and how these actions and traces of activity carry meaning – what impulses from a particular space or place can impel drawing and what is the relationship of the final work to a space or place.

The event included a keynote presentation by Marsha Meskimmon, Professor of Modern and Contemporary Art History and Theory at Loughborough University.


Friday 8 December 2017, at The Institute for Creative Enterprise (ICE), Coventry University Technology Park, Puma Way CV1 2NE, UK. 

A one-day symposium to consider interrelationships of drawing, body, space and place. The keynote speaker is Marsha Meskimmon, Professor of Modern and Contemporary Art History and Theory at Loughborough University, and there are 22 papers from practitioners, art historians and theoreticians. Conveners: Professor Jill Journeaux, Dr. Helen Gorrill, Dr. Imogen Racz, Dr. Sara Reed. 

Keynote: Marsha Meskimmon- ‘Conversations with Contingencies: Feminism, Women, Gender, Drawing’

The central aim of this talk is to consider some connections between and across four categorical terms: feminism, women, gender and drawing. Initially, this would seem a simple task as the terms have both historical and institutional links that can be traced and delineated with relative certitude: women have long been associated with drawing, feminism and drawing are connected through the politics of conceptualism and drawing is a gendered terrain. But are these links essential or contingent and what happens to categorical thinking when we seek to engage drawing, gender, women and feminism in conversation? This paper will argue that the much more exciting side of these connections unravels categorical though and suggests ways that sexual difference and drawing might embrace contingency as a mobile knowledge project. 

Biography: Marsha Meskimmon is Professor of Art History and Theory at Loughborough University (UK). Meskimmon’s research focuses on transnational contemporary art, with a particular emphasis on women’s practice, feminist corporeal-materialisms, and the politics of home in a global world. Her publications include: The Art of Reflection: Women Artists’ Self-Portraiture in the Twentieth Century (1996), We Weren’t Modern Enough: Women Artists and the Limits of German Modernism (1999), Women Making Art: History, Subjectivity, Aesthetics (2003) and Contemporary Art and the Cosmopolitan Imagination (2010), Women, the Arts and Globalisation: Eccentric Experience (co-edited with Dorothy Rowe, 2013), Drawing Difference: Connections between Gender and Drawing (co-authored with Phil Sawdon, 2016) and Home/Land: Women, Citizenship, Photographies (co-edited with Marion Arnold, 2016). With Amelia Jones, she edits the series Rethinking Art’s Histories for Manchester University Press. She is currently writing a trilogy, Transnational Feminism and the Arts for Routledge. 

Chris Crickmay and Eva Karczag (Paper presented by Chris Crickmay): ‘Lines of Enquiry: An Account of Our Work in Performance and Drawing’ 

Our collaborative practice includes movement work, the making of interactive environments for performance, and sound. This paper introduces and describes some of this work and explores how drawing has become a way of re-visiting the performances at a later date. The performances themselves are cross-disciplinary, improvised pieces, which derive much of their inspiration from the sensing body, from interaction between performers, and from the places and spaces in which they occur. A particular use of objects and projected images in conjunction with bodily movement is a distinctive feature of this work. The paper outlines some of the challenges of representational drawing as a device for re-examining performances and for building upon what took place. While drawing has its own limitations in terms of what it can show, these very limitations are seen also as a potential advantage, drawing the viewer in to an imaginative engagement with the material. The paper outlines some of the rationales for working in this way. 

The drawings will be on show at Coventry University’s Lanchester gallery from February 14th – March 9th, 2018. A return to one of our performance venues. 

Biographies: Chris Crickmay is an independent artist and writer, with a particular interest in creating environments for dance performance and in improvised movement work. Performance is also the focus of his drawing practice. He has spent a large part of his career in art education, including 12 years as Head of Art and Design at Dartington College of Arts developing the degree course in Art and Social Context. He is the co-author with Miranda Tufnell of two books entitled: Body Space Image: Notes Towards Improvisation and Performance, Dance Books, 1990; and A Widening Field: Journeys in Body and Imagination, Dance Books, 2004. 

Eva Karczag is an independent dance artist. She performs solo and collaborative work and teaches, internationally. Many of her collaborations involve links across the arts. A member of the Trisha Brown Dance Company (1979-85), she continues to teach through the company education programme in New York and elsewhere. Through her travels, performances and teaching in both the United States and Europe, she positions herself in constant conversation with dance communities on both sides of the Atlantic. She received her MFA (Dance Research Fellow) from Bennington College and is a certified teacher of the Alexander Technique. Her performance work and her teaching are both informed by dance improvisation and mindful body practice. 

Greig Burgoyne – ‘SPLACE Performative drawing – co-creating third sites’

Keywords: body contingency third-space movement rhythm performativity 

This paper aims to explore the notion of performative drawing less as an arena of witnessing the drawer but more a space for co-creation. Third space is to see the removal of the distancing commonly produced between site, viewer and drawing performance. 

This presentation takes two contrasting site-specific drawing performances that explore how and what can be garnered when gestures of the body meet ‘gestures’ by/of public space in doing, so it is to propose that performative drawing is with space and audience. 

Count/walk/follow/lost in June 2017 commissioned for Fringe Arts Bath 2017 as part of ‘Embodied cartographies’ and Island Workout in September 2017 commissioned for Coastal Currents Arts Festival Hastings.The first for a graveyard at Walcott Chapel Bath explores the performed gestures of linearity & duration in a drawing balancing-act between contingency and fate. A grave plot is measured and marked out in masking tape on the path to the chapel. When we measure in drawing we contain and perhaps grasp that space or site so to speak in representing it. 

Here drawing starts as processed gestures, namely walking as measurement of the dimensions of a grave through counting out loud the numbers of paces taken and directions taken to do that. Simultaneously this is recorded/videoed on a mobile phone then played back as instructions to follow from the original starting point/grave that has been marked out on the path that takes you into the chapel. The outcome sees the drawer wander aimlessly in and around the cemetery lost and beyond the initial space that he paradoxically sought to re-affirm. In reiterating that space and site, and its invisible audience that prompted the performance the drawer can’t find it and strays beyond the grave never able to find it again. 

The 2nd performance Island Workout was conceived for roof of a public toilets roof on a seafront. In this work, the automatic gestures are those movements that I’m seeking to follow for as long as I can at their various speeds and durations everything that moves, be it sluggishly following a distant tanker on the horizon; sprinting after cars as they pass; haphazardly chasing gliding gulls or robotically following alongside walkers as they stroll along the seafront. In all cases the drawer never leaves the enclosed, elevated space. This site is an in-between space; buffeted by the sea to which it looks out toward and passed by a constant flux of people and traffic that goes to and fro behind it. 

Through these two connected, yet contrasting works, Burgoyne will seek to explore what this third space is; expand upon how it came about; propose what kind of unity between audience and drawer results; contest what it this third space may be indicative of, both in terms of temporal space and its implications for drawing. 

Biography: Greig Burgoyne was born in Glasgow Scotland; he studied at the HAK Vienna and MA painting Royal College of Art London & is Senior lecturer in BA/MA Fine art at UCA Farnham. Greig is a senior lecturer BA MA Fine Art -University for the Creative arts Farnham UK 

Recent projects in 2016/17 includeWhiteNoise the book based on the collaborative project at The Centre for Recent drawing published by Marmalade visual theory at RIBA London; State of line Artworks/1830 gallery Halifax; Close Encounters Stove Network Scotland; Quadraturin La Confection Idéale Tourcoing; Breathing Space in collaboration with La Verita Dance Company Brussels at Centre Culturel Balavoine Arques, France ; Central Station Glasgow; The Prison Drawing project Yorkshire; Scapelands DrawingBox Tournai Belgium; WhiteNoise Centre for Recent Drawing London; Gapfillers Briggait project spaces 1+2 Wasps studios Glasgow Forthcoming projects include: Stitch up P/ROPS Ghent Belgium; Restless linings Wimbledon Space London; Galerie QSP Roubaix France; La Confection Idéale France. 

Burgoyne unites office materials ranging from post-it notes to highlighter pens and photocopy paper alongside process led, rule based repetition, endurance, accumulation and duration. Taking anomalies of the space, he seeks to test or expand alternative body/site relations with regard to space, thinking and actions. The results be they absurd or beguiling taking the form of site-specific wall drawings, public participatory events, films, live performances and installations. Burgoyne proposes new dialogues and frameworks that seek to generate a condition of becoming, translation and flux instead of stasis; a site of experience rather than merely location. 

See: www.greigburgoyne.comYouTube channel https://www.youtube.com/channel/UCeUrGwn2AgnSavSjub-ceXA

Katrina Brown- ‘Working-low: activating the horizontal plane’ 

Keywords: Horizontality, choreographic, moving-drawing, score, surfaceA 20-minute presentation consisting of a spoken paper with projected still & moving- image and graphic-textual scores. 

The paper discusses how drawing, implemented as a choreographic activity in performance, activates the horizontal plane of the floor; bringing a performing body close to the receiving surface and in a ‘low’ orientation to the ground. In moving and drawing and in working-low, a performer might be considered to be quietly present among other objects, things, materials and bodies rather than operating in the ‘vertical plane of representation’ or presenting herself ‘in front’ of the viewers. 

In three solo performance works: It’s a Draw/Live Feed (2003) by Trisha Brown, Loving Care (1993) by Janine Antoni and Panoramix (2004) by La Ribot, I consider how these three choreographers configure shifting relations between materials, surfaces and bodies (performing and spectating) in the gallery space– and the distinct way each performer orientates herself to the horizontal plane through their respective activities of ‘dancing-drawing’, ‘painting-cleaning’ and ‘scattering-toppling’. 

Each of the works operates in the space of the gallery and invites audience to be mobile and orientate themselves within the work. Brown’s dancing-drawing on large sheets of paper is witnessed through a live feed projection on the gallery wall while her ‘drawing compositions’ are brought out one by one over the time of the performance to be suspended and viewed by the audience. Antoni works on hands and knees, swaying side to side while painting the floor with her hair, which over time manoeuvres the audience out of the gallery space. In Panoramix, spectators share the same soft cardboard-clad gallery floor with La Ribot as she increasingly discards her props and objects and they lie scattered over the floor. 

I discuss these works in a reconsideration of horizontality through Leo Steinberg’s notion of the ‘flatbed picture plane’ (1972) which informs a choreographic view of the evidential remains of drawing, painting and scattering in relation to orientation and distribution, rather than to gesture and trace. I connect this notion of ‘flatbed’ with André Lepecki’s (2006) ‘toppling of the vertical plane of representation’ in performance and Svetlana Alpers’ (1984) ‘art of describing’. Together these generate an understanding of drawing outcomes that are produced from movement in relation to surface dimension and gravity; a way of considering the material remains in terms of distributed or organised information rather than in terms of image production; that information gathers and settles like dust on surfaces and the receiving plane of the flatbed operates as a site of evidence. 

I interweave two examples from my own practice-led research to highlight material- haptic-visual entanglements of moving and drawing in terms of gravitational force, sensation of weight and surface distributions of data.She’s only doing this: scores explore the score as task-based action, performance event and graphic residue: revealing how a durational process of moving, drawing, scoring generates its own time-space. In contrast, in Translucent surface/Quiet body a moving-drawing body is recorded from beneath the surface by a documenting camera, which inverts the relationship between moving body and receptor surface. 

These works present different surfaces of skin, paper and floor and coinciding capacities of surface as support, receptor and screen: presenting a material encounter between moving body and static surface and a quiet orientation of body to surface. 

Biography: Katrina Brown (UK/NL) is a choreographer working across performance and drawing; presenting work in theatre, gallery and on the artist page (material and digital). She works both solo and in collaboration with choreographer Rosanna Irvine. 

Since 2009 she is part-time Senior Lecturer Dance & Choreography at Falmouth University and has recently completed her PhD thesis intersect/surface/body: A Choreographic View of Drawing in which she implements drawing as a choreographic activity and proposes a quiet political presence of a performing body amongst materials, surfaces and spectators. 

Contact: http://www.katrinabrown.net, http://www.kbdraw.org 

Jen Clarke- ‘Gestural Traces: inter-subjectivity, performativity and documentation’ 

Jen Clarke, Drawing/Movement Workshop 

This paper explores aspects of the relationship between my research and teaching practices that emerge, and come together, through experimental drawing workshops. Specifically, I will discuss a series of workshops I devised and led for first year art and design students that sit at the juncture between ‘theory’ and ‘practice’ – by thinking with a dancing body, primarily through drawing. Four workshops took place in October and November 2017, with almost 200 people. The project also involved a public workshop as part of the performance festival DanceLive, with artists, architects, and academics. Currently a public exhibition is on display in the University that documents the student workshops and others traces of the experience. 

This paper will begin with how the workshops encouraged students to explore different ways of drawing movement by using gestural drawing, in ink and charcoal, to draw a body in movement. These explored the possibilities of larger format gestural drawings, as well as drawing with movement in small groups, through collaborative drawing exercises). An important aspect of the workshops was working with/in different spaces of the art school and university, from a drawing room to a lecture theatre. I will also discuss how we drew on somatic practices and breath work as part of our effort to capture the rhythms and temporalities of bodies in motion, and to explore what happens when we draw with or from the body in different ways. 

This paper will make connections with other ongoing research/practice, in particular my collaborative work Claire Vionnet, a dancer and anthropologist, who ‘modelled’ for these workshops. Our research began as part of an ERC funded project called Knowing from the Inside: since 2015 we have been exploring choreographic practices in relation to an understanding of ‘praxis’ (as theory informing practice informing theory, cf. Clarke and Vionnet, 2017). Our work, in part, considers whether and to what extent different media generates specific modalities of thinking (e.g. drawing, movement, film); moving from writing (Clarke 2017) to dance performance and video (The Shadow of Others 2017, Vionnet, Clarke and others) working in the interstices of contemporary art and anthropology. We are interested in the (dis)connections of our questions through these different media, and the way they can expand our praxes. This research draws on some connections between drawing and feminist practices, emphasising dialogue, matter and openness; and in particular questions about intimacy and inter-subjectivity in relation to what is called ‘the performative’ or ‘experiential’ turn. 

Intimacy is a concept that is not very well defined. We want to suggest that intimacy, understood as the proximity people share, begins at the edge of the community – when one faces somebody or something else. In using inter-subjectivity, we follow Jackson (1998, 2012) who suggests that people are connected and separate at the same time. We use contemporary dance and somatic practices along with drawing movement as primary fields of reflection for these experiences and ideas because these offer us a space of experimentation that bring bodies together, and to think through drawing. 

With reference to these workshops, my approach begins with an understanding of drawing as performative and experiential. However, I am not only interested in drawing-as-a-process, i.e. as a ‘trace of a gesture’ – I respect the drawing as an ‘output’ in itself, since drawing(s) can be understood and ‘read’. Here I am interested in the temporality of drawing as a way of considering the time and energy spent producing that work: the pauses, the flows, the frustrations. With these workshops, given the inexperience of the students, the primary focus is on the drawing experience: learning to become looser, to follow along with the moving body, to allow ‘the lines to dance’ as one student described it. The emphasis was not on producing drawings for exhibition; as a result, the documentation (photography and film) of the drawing workshops proved to be very interesting to work with, opening out very pertinent questions about how to re-present such processual and performative experiences as art works, and as research-thinking, in a more ‘hybrid’ way (Jones, 2015) which is another central concern in my work. I will focus on these issues in the second half of the paper. 


Dr. Jennifer Clarke is a Lecturer in Critical and Contextual Studies at Gray’s School of Art, Aberdeen. With a background in the arts and a Ph.D. in Social Anthropology, her research, teaching and public work combine and explore the borders of anthropology, art, and philosophy. Her primary areas of expertise are contemporary art practice (working across drawing, print, installations and performance) and ecological thinking. She is particularly interested in Japan; her most recent, and ongoing research is based on fieldwork and artistic residencies in the North East of Japan in the aftermath of the ‘triple disaster’ as part of an ERC funded postdoc (2013-16) “Knowing from the Inside”: led by Tim Ingold. Her public work is often collaborative and includes exhibition, curation, experimental workshops and performance. Her latest book is called 交流 kōryū: https://knowingfromtheinside.org/files/koryu.pdf 

Sally Doughty- ‘Hourglass: mark-making in and as performance’ 

This proposal responds to the specific themes of ‘what happens when we draw with or from the body’; ‘choreography as drawing with and from the body’ and ‘performative drawing – witness or viewer’. It aims to reveal the processes that are implicit within the author’s methods of documenting an improvised performance through drawing and mark-making, and how the resulting documentation has the potential to act as a choreographic score to generate new performance work. 

The author reflects upon a performance commission that she received from Dance4 in 2015 to make an improvised performance in response to artefacts from Robert Wilson’s opera Einstein on the Beach (1976) on exhibition at Backlit Gallery, Nottingham. She gave two performances of the hour-long work, titled Hourglass, at the gallery on Saturday 9 May 2015. She articulates her approach to documenting Hourglass from an in-vivo perspective. 

Treating the exhibits on display as a multi-modal document of the opera’s development and performances, Doughty developed strategies for embedding her own documentation of Hourglass into the performance itself. In doing so, she disrupted the normative distinction between the roles of performer and documenter so that the performance’s documentation was not conceived of as an additional imposition of practice-as-research but instead, was integral to the artistic practice (Nelson 2013, p.87). 

Interrogating methods for documenting or ‘scoring’ Hourglass gave rise to the design of wearable canvases that were integrated into the costume, onto which Doughty hand-drew key features from the performance, such as spatialpathways; movement/vocal material and moments of interaction with audience members, during the performance. Towards the end of each performance the wearable scores were repurposed as she removed each wearable canvas from the costume and hung them in the gallery space as exhibits, thus contributing to the artefacts from the opera’s history. 

The author provides the context for her own drawing in performance by examining the work of dance and performance artists including Trisha Brown (Untitled 2007), Carolee Schneeman (Tracking 1973) and Si Rawlinson (Ink 2017) who have developed strategies for drawing in performance that ‘encode movement’ (Roben 2012). She proposes an alternative method of documenting that challenges a body of literature and artists’ methods of documenting, in which the body gives rise to the mark in the moment of moving. 

It is a relatively common occurrence that performance is documented by someone other than the artist and from a position external to the work. Michael Woolley observes that ‘a distinct tension exists between the performer and documenter’ (2014, p. 59), and the author proposes that the nature of her documentation through mark-making in performance collapsed any suggestion of such ‘tension’, offering instead an embodied and embedded practice of documentation that arose seamlessly through the performance. Nelson notes that when documenting, ‘the literal, indexical function of words is less useful than more poetic modes’ (2013, p.90) and this is reflected in the mode of drawing undertaken during the performance of Hourglass. The mark-making shifted from a representational style of drawing to a technique that included Doughty’s personal responses and a more poetic commentary on the work. 

The process and creative potential of treating the hand-drawn scores as archival material from Hourglass to inform new performance work such as Hourglass: Archive as Muse (Doughty, October 2015) will be discussed here, concluding that drawing in performance has the dual potential to document and generate. 

Biography: Sally Doughty has choreographed, taught and performed in USA, Latvia, Mexico, Berlin, Brussels, Paris, Estonia and the UK. She is published variously (Choreographic Practices, Performance Research and Research in Dance Education,) and has forthcoming book chapters in the Oxford Handbook of Improvisation and Body, Space, Object: Dialogues between Art and Dance. She has an international reputation as a facilitator and performer of improvisational practices. Sally is produced by Dance4 (UK) and funded by Arts Council England to explore the status of and challenges involved in making improvised dance for larger venues. She is co-researcher in two projects: ‘The identity of hybrid dance artist-academics working across academia and the professional arts sector’, and ‘Body of Knowledge’ that promotes the dancer’s body as a living archive. Sally is Associate Professor in Dance at De Montfort University, Leicester, where she leads BA Dance, MA/MFA Performance Practices and MA Arts. 

Dr Joe Graham- ‘Climate Drawing: The Atmosphere of Time’ 

This paper discusses the extension to a previously published piece of drawing research titled; Nine Drawings (JVAP, 2017). Constituting a series of nine biro pen drawings produced on graph paper with the aid of a metronome, Nine Drawings sought to describe the shape of time by combining practice with theory. In practical terms, the act of drawing biro lines by hand ‘in time’ to a variety of tempos was employed to examine Bergson’s concept that time acts as a force, described within the philosophy of la durée (duration). To examine this idea, Nine Drawings uses a methodology that combines the repetitive act of drawing lines in time to three different metronome tempos (60, 120 and 180 bpm, drawn in green, blue and red lines respectively) with the Husserlian method of variations developed by Don Ihde (2012). For both Husserl and Ihde, this method is central to the practice of phenomenology, used to seek the possible beyond the contingency of the given. Bergson’s idea that time acts as a force was framed by me as the possible understanding that could potentially emerge once the ‘given’ experience of time as duration was taken into account. As a drawing researcher, my interest was the extent to which the drawings themselves might show any evidence of this. 

The current research extends the scope of this previous investigation in a more playful mode, resulting in a series of 18 new drawings. Made in a similar manner as before, using much the same methodology, this series serves a slightly different aim. Rather than attempting to describe the shape of time underpinned by Bergsonian duration, the method of variations is employed to describe time in two different ways: firstly, by varying one possible climatic condition under which such drawings can be produced (in this case, humidity) and secondly, by varying the manner in which the selection of the three tempos drawn-to are decided, via the agency of chance. In practical terms this means this series is produced by varying the level of humidity under which the drawings are drawn, via the combination of a household dehumidifier and an electric shower. The use of chance to vary which tempo to draw-to belongs to a long tradition of using chance within drawing, and within artistic practice more widely (Krokatsis & Walwin, 2005). 

The idea of varying the climatic element emerged by considering an idea put forward recently by Tim Ingold; “in becoming a linealogist, it is necessary to become something of a meteorologist as well” (Ingold, 2015, p. 53). Without wishing to describe myself as a linealogist, I am interested in Ingold’s idea of necessity in relation to connecting the study of lines (linealogy) with meteorology. As an assertion, it appears akin to Bergson’s notion that time necessarily acts as a force once duration is taken into account. Treating this new series of drawings as a test of Ingold’s idea means the question of whether or not they bear any form of witness to the veracity of it as an idea via a study of the lines themselves is (and remains) very much an open question. 

Biography: Joe Graham is an artist and drawing researcher currently based in Cornwall, where he is a Lecturer in Drawing at Falmouth University. Joe completed his practice-led PhD in Drawing Research at Loughborough University (2015), prior to which he undertook an MFA in Fine Art Media at the Slade School of Fine Art, UCL (2010) with the award of the Henry Tonks Prize for Drawing, and a BA in Fine Art Painting at Chelsea College of Art & Design (2002). Published outputs include an artist monograph, Flea, by the Centre for Recent Drawing, London (2012), an artist bookwork, ANCHOR, published by Marmalade Publishers of Visual Theory, London (2015), and peer reviewed articles in the Journal of Visual Art Practice (Vol.14:1, Vol.17:1) and Drawing: Research, Theory, Practice (Vol.1.1) and online in JAR, issue 12. Upcoming publications include The Being of Drawing, due to be published by Marmalade Publishers of Visual Theory in Autumn 2018. 

Lesley Halliwell- ‘An Elongated Moment: the body and the marked surface of the pictorial plane’ 

Key words: surface, breath, drawing, trace, the still body, gilding. 

This paper explores the different ways in which the surface of an artwork records and preserves traces of the body. It is based around artworks made in response to investigations undertaken as part of my practice based PhD research focusing on pattern generation as practiced within specific cultures. I propose to look at Gesture, rhythm and the significance of what I call the ‘still body’ 

And the notion of breath, as a conceptual and actualized presenceBoth of these can be read as ways in which the trace of the body manifests on the surface of an artwork.Whilst learning the techniques of Western manuscript illumination my assumption about speed, labour and scale was seriously challenged as I made work that was so small and intricate that a magnifying glass was needed to see what I was doing. The small, tightly controlled movements of the still focused body, necessary for this level of precision, demanded just as much, if not more, physicality as the large-scale drawings from my established practice. The process was also painstakingly time consuming and slow, driving home the monumental and durational aspect of the miniature surface.Research into Indian kolam drawings resulted in a live performance and video work (Additive Trace, 2015). Drawn freehand with chalk around a matrix of dots and traditionally found on the doorstep or entrance to the home kolams are rubbed out by the passage of feet as the day wears on only to be renewed the following morning. Although a little awkward, with my visual notes never far from hand, there were moments when the chalk flowed freely and I began to feel the rhythm of the convoluted lines and loops. A glimpse of how it may be for the women of South India; up, down, around, to the side, like the steps of a dance, ‘drawing [as Gell describes] as akin to dancing (with) the design as a kind of frozen residue left by this manual ballet…’ (Gell, 1998:95). The movements became embedded within the body as a series of gestures that, over time, required less and less conscious thought. 

In contrast to the swift competent gestures of the Hindu women – where rice flour expertly trickles through the fingertips as an even and continuous line – An Additive Trace records and re-plays my mistakes and hesitations as the chalk squeaks and scrapes clumsily over the board. These hesitations create a pause – a breathing space – within the image; a gap that Henri Bergson would argue is the moment when the past pours in (Bergson, In Guerlac, 2006). 

As part of the gilding process, the warmth and moisture of ones’ breath activates the mordant (glue) allowing the metal leaf to adhere to the surface of the paper. This reinforced, in a very physical and direct way, the connection between the body and the marked surface. The sound of the students in the illumination class, simultaneously bending forwards and breathing on their work, stayed with me as a powerful image and sound which became the theme of a video work which uses the condensation of the breath to create a surface on which to draw. 

Reflecting on my own creative practice and informed by recent practical research I explore the different ways in the surface records and preserves traces of the body. I probe more deeply the physicality of the still body and the notion of ‘breathing space,’ as a conceptual and actualized presence. 


Lesley Halliwell is an artist undertaking a practice-based PhD at Manchester School of Art, Manchester Metropolitan University. She has an MA in Art History, Goldsmith’s College, University of London (1995), an MA in Fine Art from MMU (2001) and a BA(hons) from Nottingham Trent. Lesley is a currently Director of Suite Studio Group, Salford and Visiting Lecturer at the University of Chester. She has exhibited her work widely across the UK including Bloomberg’s New Contemporaries, The Jerwood Drawing Prize, Superabundant at Turner Contemporary, Margate, Pattern Recognition at Leicester City Art Gallery and Beauty is the First Test at Pumphouse Gallery, London.Castlefield Gallery, Manchester. 

Dr. Deborah Harty: ‘Wandering through drawings’ trace

Da Vinci said: “A line is made by the movement of a point … the point may be compared to an instant in time, and the line may be likened to the length of a certain quantity of time …” 

From mark to line, a line that wanders across the surface through time in rhythm with our bodily incarnate. We are necessarily situated in the here and now, physically grounded within our world. The body is our means of interaction with the physical world and a source of all our perceptual experiences. As Merleau-Ponty suggests, “… perceiving as we do with our body, the body is a natural self and, as it were, the subject of perception.”ii 

With this as a context the presentation will aim to trace a wandering line through drawings of three women artists spanning a period from 1887-2009, to consider how the formal elements of drawing: composition, line, tone, mark, etc. have retained their trace. The three drawings in question are: Berthe Morisot’s Self-Portrait with Julie Manet (1887); Carolee Schneeman’s Up to an Including Her Limits (1973-76); and Maryclare Foa’s Foot Tunnel Driftsong (2009). I will argue that the selected drawings embody the particular approach of the women artists, whilst at the same time, acknowledging the influence of the trace of their lived world.

Berthe Morisot’s drawing of a drawing lesson with her daughter Julie represents a moment in time, an intimate moment of their everyday life. Carolee Schneemann’s Up to and Including Her Limits, was a series of repeated drawing performances, developed over a period of 6-7 years, which took place predominantly between 1973-1976, at various venues including: The Kitchen in New York. This is not a drawing of an intimate and private moment between the artist/mother and her daughter in a domestic setting, but a public event, opening up and blurring the distinction between the private woman and the public artist. Maryclare Foa’s Foot Tunnel Driftsong is drawn within the tunnel under the River Thames between Greenwich and the Isle of Dogs. Foa uses her voice to draw repetitive and rhythmical marks. The tunnel provides the surface on which to draw. Foa’s voice is the tool with which she draws, the sound: the mark she creates, and her body the line, which takes that mark for a walk across the surface. 

The line will wander through Morisot’s work on paper, to Schneeman’s moves to take the mark away from a surface and employ styles and conventions through performance, and finally to Foa’s work, thirty years later, which removes the lasting trace of marks on a surface by using sound as the medium through which to draw. I will consider, how the work of each artist is connected through an acknowledgement of the historical trajectory of drawing, as an embodied and lived experience, whilst also responding to the world in which they are situated: the artistic and social developments of their own time. 

Deborah Harty is an artist-researcher whose current research considers the premise drawing is phenomenology? She is a co-director of TRACEY: drawing and visualisation research and she is Programme Director for Fine Art at Loughborough University. Deborah’s current research has resulted in several publications and she is the principal investigator and curator of drawology, a phenomenological drawing research project. Deborah also collaborates with Phil Sawdon as one half of humhyphenhum: a drawing research collaboration. humhyphenhum regularly publish their practice-led research and have co-curated the latest drawology event performing drawology at the Bonington Gallery in Nottingham.  

Websites:Drawing is phenomenology: http://www.lboro.ac.uk/microsites/sota/tracey/space/projects/phenom/dh1.html TRACEY: http://www.lboro.ac.uk/departments/sota/tracey/humhyphenhum: http://humhyphenhum.tumblr.com/Performing drawology: https://performingdrawology.wordpress.com/ 

Lesley Hicks- ‘Drawing: a protest against forgetting’ 

This paper explores how two widely differing experiences of Icelandic landscapes have influenced my methods of investigation through drawing in two drawing projects (the ‘Sandur’ drawings and the ‘Northern Lights’) which both take as their subject the landscapes of Iceland. In the ‘Sandur’ project the marks and gestures arrived at are suggestive of a physical encounter with the landscape – touched, breathed in, walked over, immersed in. The ‘Northern Lights’ project responds to a more detached, digitalized surveillance – a landscape distanced and filtered through the lens of a webcam. There is an examination of how the marks or gestures adopted in each project are suggestive of these differing encounters and embody something of these contrasting experiences; and a consideration of what the drawing process brings to both projects, as both draw upon methods and materials particular to drawing. 

There is also an exploration of the relationship in these projects between drawing and memory. The discussion is prompted and informed by a notion of Hans Ulrich Obrist, who talks of the act of painting being ‘a protest against forgetting’, and also by some thoughts of John Berger when he considers drawing’s particular ability to challenge ‘disappearance’. The relationship of each project to the moment of visual encounter is considered, as is the nature of the response/mark to this initial encounter, and the way that each project in its own way is a ‘protest against forgetting’, against ‘disappearance’. 

The ‘Sandur’ project is considered first. The landscape that inspired this project is one that has been created as a result of volcanic activity under the icecaps. The landscape of the Sandur is unstable, constantly shifting and altered by climatic conditions and the fresh build-up of outwash. There is discussion of how the drawings echo something of the natural processes involved in the forming of the land through the build-up and erosion of deposits; and how this was achieved with the most basic of tools, pencils and a rubber, building up thick, dense areas of graphite and then erasing or partially erasing sections to reveal the paper beneath, leaving behind marks and traces. 

The ‘Northern Lights’ drawings are developed from webcam images retrieved from a road traffic website in Iceland. Regularly, webcam stills of these remote Icelandic roads are uploaded and then, automatically, displayed on the website. Screen captures of these stills provide the source imagery for the drawings. 

A consideration of the drawing process in this project examines how, using simple materials, graphite and coloured pencils, the image is drawn in, then overworked using a ruler, the mechanical like process echoing a printer. An image of a topographically accurate landscape is established and then obscured or broken down to some degree by the introduction of ruled lines which echo the digital noise of the low-resolution image and the flat screen of the monitor. 

Moving on to the discussion of memory and place, there is emphasis on howthe ‘Sandur’ project draws upon the memory of an actual experience of place, memory reinforced by acts of physical engagement through walking and painting. It is observed, for example, how graphite, which is less easily erased than charcoal, requires some energy and force to remove it; the drawing process, then, refers in part to the memories of the instability and shifting nature of the place through this duel between application and removal. 

The more nuanced relationship of the works to place and memory in the ‘Northern Lights’ is also examined. Here the experience of landscape is mediated through the webcam and the computer – the three-dimensional landscape filtered through the flat screen of a monitor. In a detailed discussion, which draws on some ideas of Hans Ulrich Obrist, Geoffrey Batchen, and Susan Sontag, there is an exploration of how, in taking the webcam images and transforming them into drawings, the works begin to resist ‘photography’s ability to fix an image in time.’ [Sontag]. 

Biography: Lesley Hicks is a Senior Lecturer at Teesside University and studied Fine Art at Newcastle University and the Royal Academy schools. Recent exhibitions include: 2017 Jerwood Drawing Prize, Jerwood Space, London, 2017 Sketch, Rabley Drawing Centre, 2015 Contemporary British Drawing, Academy of Fine Art Xi’an, China, 2014 God’s Bridge, X Bowes Museum, 2011 Driven to Draw, Royal Academy, London. Her recent work develops her interest in landscape by exploring how different kinds of experience of landscape might affect the drawn response. The collection and development of her material spans a range of media and methods, combining painting and drawing made directly on site with that made within the studio

Courtney Coyne-Jensen– ‘Drawing on Lived Experience: Presencing and Prosthetics’

Key terms: drawing-within-experience; visual journal; embodiment; presencing; prosthetics; attunement 

This presentation focuses on a questioning of ‘experiential blindness’ in architectural education today, and yet consciously resists such dualities as real vs. virtual and analogue vs. digital. It aims to identify some of the key ways that drawing-within- experience can encourage architecture students to ground themselves and their drawing praxes in lived experience and place. A series of visual journaling exercises and methods undertaken in the field – in place, and with place – will form one part of this paper’s case studies. The other lobe, will consider a series of embodied vision workshops that employ makeshift drawing prosthetics – devices that challenge students to draw through such modes of perception as proprioception, tactility, sound, smell, inverted vision, peripheral vision, as well as through ‘the other’. All of these examples aim to probe and contest the ocularcentrism prevalent in architectural drawing practices today. These sensate and enactive strategies – and devices – have also been devised to not only enhance somaaesthetic awareness and sensory experiences, but more specifically to highlight the often taken-for- granted nature of kinaesthetic understanding and haptic knowledge in the creation of architectural drawings and architectural spatialities. This presentation will argue that this series of body-centred and place-oriented drawing practices can help instil a form of embodied criticality in the students’ own praxes, and that the pedagogies can aide architecture students in better identifying, analysing and understanding the reciprocal relations between the embedded interactions of their own gesturing bodies and the flesh of the world. This paper will moreover maintain that important abilities such as attunement and presencing do not occur in an undifferentiated nowhere or everywhere. Rather, they occur in the body, and in and through place. It is thus precisely in this enmeshed state that we ought to develop and situate more representation processes and praxes for architecture students in particular. 

Biography: Senior Lecturer, Malmö University (Sweden), and independent architecture & urban design professional (Copenhagen, Denmark). Co-founder & co- editor of DEAR publication. Founder & owner of Lux Lumina. Formerly teaching and practising in NZ, RSA, DE, SP, UK & US. Always warmly welcoming new collaborations & multidisciplinary musings. 

Sarah Lawton- ‘Interrelationships of drawing, body, space, place. Kinesthetic conversations: Mirrored-drawing interventions’ 

Key words: Kinaesthetic, empathy, mirror drawing, intervention, India. 

This article examines the relationship between drawing and kinesthetic empathy. The main focus of the paper is a reflection on research undertaken for Arts Council England and INTACH (Research into Intangible Cultural Heritage) between 2015- 2017. 

“A key inter-disciplinary concept in our understanding of social interaction across creative and cultural practices, kinesthetic empathy describes the ability to experience empathy merely by observing the movements of another human being.” 

The article starts with a short overview of the use of optics as drawing tools for recording gestures and movement of Odissi and Bharatanatyam 

dancers in Orissa and Ahmedabad, at Srjan and Darpana, respectively. The drawings explore the complex interrelation of marking and meaning to trace the contours of the body in motion. The paper then discusses the deeply personal complexities of empathy and shared-engagement. There is a brief examination of the practice of ‘artist as witness’ and a reflection on subsequent exhibitions and workshop prototypes which Lawton has facilitated, as part of the Something Useful Project Residency, Gujarat. 


Lawton’s practice promotes body-mind integration. The drawing interventions have shed new light based on ‘shared-experiences.’ By exploring perspectives between body and drawing across culture and contexts, the work asks what is the relationship between physical movement and the tracing of gestures? Drawing becomes a locus to elicit movement-language and an exchange between practice and performance. The final section of the article discusses the body of work made by Lawton in response to ‘Gestures and Mudras’: Drawing Observation. Through Lawton’s work we see how the embodied movement of both witness and mover develop mind-body integration through expression. The experience is visceral, not cognitive: a retracing of gestures, of impulses and retractions. 

The paper seeks to develop ‘new ways of knowing’ between movement experience, empathy and drawing. It asks how can conversations formed through the drawn or traced line and kinesthesia be better understood. The relationship between movement, drawing and kinesthetic empathy will be examined. Processes of introspection will enable deep reflections on ‘drawing interventions’, in India and UK’ at RichMix and Standpoint Gallery, in 2015. 

The paper will interrogate reciprocity and bodily encounters between ‘visual-witness’ and ‘dancer,’ creating linkages between ‘me’ and ‘you’. It is in this way that drawing could be considered an exploration of bodily insight and kinesthetic empathy. The drawing interventions can help participants understand one another better, to develop empathy for complexities of human expression, emotion and process. Dance: Drawing collaboration is a powerful tool which encourages communication. On an innate level, drawing affords a language with which participants can reach one another, across often difficult terrain. 

For those who may have otherwise been silenced, dance-drawing can release the voices of expression and create opportunities for audiences to listen, learn and empathise. Key to understanding social relationships, the ‘observed interventions’ have provided a rich terrain on which to sensitively learn about personal narratives and collaborate through cultures. Lawton has worked with Bharatanatyam dancers Hemvati Shah, artists-activist Dr Mallika Sarabhai and Odissi dancer Dr Elena Catalano (UK). By recording the gestures of the performers and through her own ‘body-mimicry,’ and gesture, Lawton has developed research and artistic outcomes. Simply by observing the movements of another human being, Lawton has developed kinesthetic empathy. Through drawing, her body deeply and viscerally connects. (Reynolds. D. 2012) 

Lawton’s practice promotes body-mind integration. The drawing interventions have shed new light based on ‘shared-experiences.’ By exploring perspectives between body and drawing across culture and contexts, the work asks what is the relationship between physical movement and the tracing of gestures? Drawing becomes a locus to elicit movement-language and an exchange between practice and performance. The final section of the article discusses the body of work made by Lawton in response to ‘Gestures and Mudras’: Drawing Observation. Through Lawton’s work we see how the embodied movement of both witness and mover develop mind-body integration through expression. The experience is visceral, not cognitive: a retracing of gestures, of impulses and retractions. 

The paper seeks to develop ‘new ways of knowing’ between movement experience, empathy and drawing. It asks how can conversations formed through the drawn or traced line and kinesthesia be better understood. The relationship between movement, drawing and kinesthetic empathy will be examined. Processes of introspection will enable deep reflections on ‘drawing interventions’, in India and UK’ at RichMix and Standpoint Gallery, in 2015. 

The paper will interrogate reciprocity and bodily encounters between ‘visual-witness’ and ‘dancer,’ creating linkages between ‘me’ and ‘you’. It is in this way that drawing could be considered an exploration of bodily insight and kinesthetic empathy. The drawing interventions can help participants understand one another better, to develop empathy for complexities of human expression, emotion and process. Dance: Drawing collaboration is a powerful tool which encourages communication. On an innate level, drawing affords a language with which participants can reach one another, across often difficult terrain. 

Andrew McDonald – Fence/Hammock: escape, animation, performance, film, anxiety, drawing’  

When I began making animations in the late 90’s, an important part of my practice moved from a private activity, something I did in endless note books, to a public one. Up until then drawing had been a means to ‘work things out’ – this was pragmatic but these note books were also a place to drift, to start drawing with no idea of what I was drawing. The impetus for this action was not coming from pen or paper or even from ‘imagination’, it was more an irritation with my body, and a way of relieving it was to make a mark. I also began making animation out of desperation, it felt at the time that my practice was in the shadow of others, that doors were closing around me and the only one left open was animation. I say this because it is important to me to acknowledge the negative as a driver in the process of making art. 

The starting point for my animations are the films I have made. This performative stage of my work is where I improvise around sometimes very slight ideas. I work alone, repeating a scenario over and over, reviewing and reacting to my actions. There is a real physicality to this part of my work which contrasts greatly with the amination process, except for one commonality; repetition. 

The Fence animation is of a masked figure climbing over a fence, descending on the other side and then running off. 

The work uses a language we are familiar with, someone overcoming an obstacle and escaping from one space to another. The figure is masked so alluding to the action being clandestine, going against an authority. In 2015 it seemed to me every time I watched the news someone was climbing over a fence and what struck me was the unending endeavour. 

The Hammock animation is of a figure in a hammock with a hat over their face. The figure tries to get out of the hammock but keeps giving up as they have no energy, and it is easier to stay in a comfortable stupor. They are overcome with apathy.
Both these pieces talk about notions of escape, be it physical or mental. A major part of producing my work is to lose myself in the process of drawing and the repetition of animation, to escape. But there is also a contradiction as the end result, the finished piece, is a confrontation with me and the world. So, the Two parallel yet unsynchronised escape attempts are just that; ‘attempts’ never really achieving escape. When I am drawing, I experience escape but it is fleeting so I keep drawing to repeat the experience. 

Drawing allows me control, not in some overall vision for the work, but to ‘try out’ and improvise as I work. To allow me to have blanks in my ideas and to keep my options open right until the end. Indecision in my practice is important. Whereas the figures are made using film the spaces are purely fictional. The animation process gives me time to think about what space is needed, to experiment with different ideas and to build them into the drawing. The spaces in Fence\Hammock evolved exactly like this. Within each background there were formal aspects that had to be there, but as I worked on them I was stripping back and erasing for the Fence and adding and complicating with the Hammock. 

Both figures show a contrast in the idea of escape. I have become aware over the years that this is something that viewers find attractive in my work. A perceived idea of ‘hard work’ and commitment, endeavour. Like the figure climbing the fence, I draw over and over again, losing myself, but also like the figure in the hammock I am struck with apathy and have to force myself to work, making my marks inconsistent. So, in a subtle way this is recorded in the drawings so each animation is a catalogue of moods, or an expression of mood. I am not an obsessive, which is a term sometimes levelled at people who make animations, however the marks I make do demonstrate a ‘nervous energy’. This energy is absorbed by drawing but is also manifested in the animation as a continuous moving line both in the figure and the spaces they inhabit. 

Biography: Andrew McDonald has a degree from Liverpool Polytechnic and an MA from Northumbria University in Newcastle he has worked in Art education for over thirty years. McDonald has exhibited work both nationally and internationally most recently with a solo show at the Castlefield gallery Manchester and as part of The Front’s film festival in New Orleans, USA. In August of this year McDonald worked with Corridor 8 on a publication titled ‘Restlessness’. The publication was based on his work and included essays from emerging and established writers. Andrew Mcdonald is a senior lecturer in fine art 3D at the University of Central Lancashire. 

Dr Sofia Mali- ‘Reflections on the female body’

Keywords: female body, nature, freedom, displacement, ‘other’, neoliberalism

 ‘Reflections on the female body’ is an on-going project. It aims at showing how the female body matters, but also, and most importantly, how it does not; how today, it still, does not. 

In any place, in any space and in many, different ways. 

The last four years have witnessed radical social, cultural and political transformations in the West, as much as in the East. During this time, I have had the fortune to be experiencing ‘life’ in two places. Greece, my hospitable homeland, put it better, my once hospitable homeland, and the UK, my now (in)hospitable home. My observations and experiences in these two places gave me the motivation to develop the project ‘Reflections on the female body’, aiming at exploring the current shifts or changes by looking at the social, cultural, and political implications for the women, living in but also coming to these two countries; native, migrant and refugee women. In the drawing language: by looking at the social, cultural and political reflections of these implications on the female body. 

The project explores the notions of nature/freedom and no-nature/freedom; experience, representation, and ‘otherness’. The understanding of the above is offered in the language of drawing, through the analysis and explanation of a series of black and white drawings resulting of my project: 

Reflections on the female body. An iterative process 

I began working on the relation between the female body and space/place few months before leaving home in 2013. My studio, my space, my mind, my memory, my people, my observations: my place. All these were my ‘laboratory’, which would produce the message: ‘female body matters’. December 2017: 

Space matters. Place matters. Time, also matters. 

The female body, and its numerous transformations are ‘the’ celebration of life,and of nature.The female body has unlimited potential: it blossoms, it gives fruits, it empties, it shrinks – like nature does in spring, summer, autumn, winter. In the different ways it does, in different ages, in different places of the world. 

The space of the female body is nature. But is the place of the female body in nature?And how about freedom? Where has the female body been placed? And who decides where the female body should be, is and consequently, will be placed? Its functions and potentials are of nature. It is in that sense that the female body is natural. 

Only that the place given to the female body has not been a ‘natural’ one. Today, the female body is also a ‘victim’ of neo-liberal ethics and aesthetics. 

I am currently capturing and answering the above, by studying the female body of the ‘other’ among different ‘others’ and taking into account: power, politics, culture, current dominant ideologies and social institutions, each of which may contribute towards trauma inside and on the female body, and result in internal divisions. I am drawing. I am capturing reflections of neo-liberal ethics and aesthetics on the female body; in two different contexts: The UK and Greece. I am ‘discussing’. 

The outcome of the project ‘Reflections on the female body’ will be:(a) a black and white series of drawings and photographs depicting the female body in different ages, places, spaces and reflecting the ways that today, still, the female body does not matter, although it does, by exposing the ways that it does (sample, attached),(b) a publication (conference publication; future publication: journal article/book chapter): words will be put into drawings/photographs, and vice versa. 

Biography: Associate Lecturer in Cultural and Historical Studies, London College of Fashion, The University of the Arts London 

Raúl Martínez– ‘Body, Space and Place: Depicting Body Movement throughout Gaudi’s Palau Güell’ 

Architectural experience is a term closely linked to aesthetic phenomena. Historians, scholars, connoisseurs, journalists, travelers, or simply architecture-lovers —both consciously and unconsciously— have included subjective descriptions in their professional or non-professional writings, explaining personal sensorial experiences caused by their wandering along a particular architectural work or urban space. The description of this individual aesthetic vision of architecture in motion, which considers the body as a medium of communication, has always been limited to written text, sometimes assisted by drawings or, since the ninetieth century, by photographs. 

In the modern era, Le Corbusier promoted the concept of architectural experience with his work and the introduction of the idea of the promenade architecturale. After World War II, scholars from diverse fields aimed to objectively conceptualize the subjective experience of the users by proposing a new language based on diagrammatic plans that could depict the trajectory of the body in fluid motion through architectural space. The intent was to improve the conventional graphic tools used to represent architecture –based on plans, façades and sections– by introducing new, complementary drawing systems that could be useful both for design and analysis processes. In the mid-1950s, this discipline developed new mediums of graphic notation that represented a real time sequential description of physical environments as they were experienced in motion along a given path, a methodology that blurred the lines of the architectural discipline with other modern artistic fields such as choreography and filmography, establishing vanguard compositional relationships between ancient and contemporary artistic domains. 

In the last few decades, the diagram has emerged as one of the main themes within the realm of architectural debate favored by the open-ended definition that Gilles Deleuze coined in the 1970s. As a malleable term, it has adopted a myriad of meanings and promoted new ways of analyzing and designing architecture. In the midst of this context, this abstract notational system developed in the mid-1950s, which is diagrammatic in essence, deserves to be reconsidered and applied to current and past works of architectural ingenuity. Capable of modelling a time-based phenomena, it has the potential to expand the traditional mechanisms of architectural representation beyond the spatial dimension in order to consider phenomenological questions. Like reading a text or musical score, the graphic notations include time as a variable and the manner in which they portray the unfolding of a spatial event in time, permits the engagement of the viewer within the invisible aspects of architecture. When introducing the variables of time and experience in the processes of analysis and design of architecture, the notations focus their attention on the dialogue that is established between the act of looking and the physical experience of the user in motion within architectural space, while excluding more formal and organizational issues. 

This paper aims to analyze and understand a system of architectural notation, which underscores the episteme of the architectural experience, as an alternative way of examining architecture through the lens of bodies in motion. Surrounded by a contemporary, digital environment where computers are simulating desired three dimensional experiences, this method of notation appears as an original, hand- written way to emulate a comprehensive corporeal experience. This alternative way of drawing architecture plans and its ability to depict a space-time graphic sequence proposes a new channel for contemporary drawing practices, both in design and analysis of architecture, and facilitates communication on architecture among professionals and non-professionals. Antoni Gaudi’s Güell Palace in Barcelona has been selected as a case study which, in Henry-Russell Hitchcock’s words, is “one of the major productions” of “one of the most intensely personal talents that either the nineteenth or the twentieth centuries has produced.” The methodological references for this work are Philip Thiel’s analysis of Japanese architecture and Pedro Vieira de Almeida’s analysis of Alvaro Siza’s swimming pools at Leça de Palmeira. The application of these separate methods will instigate the re-reading of this proto- modern edifice from a completely different standpoint and will take us to a deeper comprehension of the modern values of this complex work. 

Keywords: Architectural experience, architectural drawing, diagram, body, space, Palau Güell. 

Raúl Martínez, PhD, is an adjunct lecturer at the Department of History and Theory of Architecture and at the UPC School of Professional & Executive Development for graduate studies, both at the Universitat Politècnica de Catalunya-BarcelonaTech.  He has been a guest lecturer at the Poznan University of Technology in 2017 and a visiting professor at the University of Illinois at Urbana Champaign in 2014, 2015. Specializing in the historiography of modern and postmodern architecture, he is currently working on publications related to physiological aesthetics applied to architectural and urban analysis methodologies after WWII. 

Lucy O’Donnell- ‘Maternal Lines: Drawing in/on Conversations’ 

Maternal Lines: Drawing in/on Conversations is an evaluation of an on-going practice-led project between 3 artist/academics Lucy O’Donnell, Vanessa Corby and Sally Taylor. The project looks to the material and social currencies of drawing whereby making and talking together creates opportunity to extend the intimacy and sensitivities of drawing, and embraces the autobiographical. This collaboration is in part motivated to further unpick Emma Dexters sentiment ‘to draw is to be human’ (2005). The project is a creative union between the 3 artists/academics where drawing, looking, talking, thinking, pausing extends the intimacy of drawing  within a collective dialogue. This collaboration where coming together within a network, fostered open discussions around motherhood. Here shared pressures of the overwhelming need as mothers to front the world with a poised performance were discussed. The often-stressful experiences of motherhood where uncertainties are recurring unfold through our dialogues filtered into the project. The methodology acknowledges dialogue as types of participations that are picked up, put down and paused. The project uses ‘commoning’ a term from Tim Ingold (2014) within the collaboration where mutual interactions underpin our lived experience as mothers of young children, and these recoil back and forth between practical and critical reconsiderations of drawing. The commoning permits the improbabilities and uncertainties regularly experienced within our rolls as mothers to be acknowledged, seized and celebrated as a special yet often hectic period in our professional lives. 

Biographies: Lucy O’Donnell is an artist/educator who questions the wonder of drawing. She is Lecturer at York St John University, and has Fellowship of The Ballinglen Arts Foundation & The Higher Education Academy. Exhibitions include Ricklundsgorden Sweden, Stark Gallery London, Modern Life and Art Casa Mia Gallery Tokyo and Osoka Japan and 6767 Nan Yang Academy of Fine Arts in Singapore, Drawings in Conversation at The Chapter House Lincoln Cathedral, The Court House Gallery, Co-Mayo Ireland, The Prison Drawing Project & Drawology. She has undertaken residences that include, Drawing Projects UK, Lincoln Cathedral, Ballinglen Arts Foundation Ireland, Tyrone Guthrie Centre Ireland and Ricklundsgorden & Lapland Northern Sweden. 

Sally Taylor (b. 1977, Bury, Lancashire) studied BA Fine Art: Practice & Theory (1995- 98), MA Studio Practice (1999-2000) Lancaster University. Selected group exhibitions include: Jerwood Drawing Prize 2017, Jerwood Space, London and UK tour (2017-8), State of Line, Artworks, Halifax (2017), London Art Fair, Rabley Contemporary, London (2017, 2016, 2015), Ink Art Fair, Rabley Contemporary, Miami, USA (2016); Prison Drawing Project, Scarborough (2016), To Draw is to be Human, 20:21, Scunthorpe (2016), Crescent Arts, Scarborough, South Square Gallery, Bradford (2015), Beyond Perception, University of Aberdeen, Aberdeen (2015), Sketchbook Today, University of Northampton (2015), Jerwood Drawing Prize 2014 ‘Highly Commended’, Jerwood Space, London and UK tour (2014-15). Solo exhibitions include: Some Spaces Left, Platform A, Middlesbrough (2017), That Head, That Head, Rabley Contemporary, Rabley, Wiltshire (2016); Confused Heads, Duckett and Jeffreys, North Yorkshire (2013), All Say The Same, Ryedale Folk Museum, North Yorkshire (2011), Marks and Mouths, PS2, MIMA – Middlesbrough Institute of Modern Art (2010-11). Work included in Drawing Paper #6, co-curated with Tate Liverpool to coincide with the Liverpool Biennial (2012), Jerwood Drawing Prize 2011, 2009, 2004Afternoon Tea, 54th Venice Biennale with WW Gallery, London (2011). Recently awarded Grants for the Arts funding to work with leading practitioners / curators in contemporary drawing. She is a lecturer at York St John and lives and works in North Yorkshire. Using predominantly found materials, Taylor’s drawings affirm a desire to understand more about human relationships through her own interactions with others. The superimposition of marks in relation to the personal history of the surface and the imminence of the hand-drawn line are characteristics of her current practice

Vanessa Corby trained as a painter in the early 1990s before undertaking a PhD in feminist theory, history, and criticism of the visual arts at Leeds (2002). Her research mobilises the material operations of art practice to rethink its discourses and histories. She has written extensively on the work of Eva Hesse (Prestel, 2006, I B Tauris, 2010) and has embarked on a new book project entitled Art and the Social Animal: Cooperation, Materials and Making (2019). She is currently Senior Lecturer in Theory, History and Practice of Fine Art at York St John University 

Kiera O’Toole- ‘Drawing from the Non-Place’ 

Key Words: Drawing, Phenomenology, Body, Wonder, Place

How is the mark or gesture suggestive of a response to place? In this paper, I propose that the drawn mark can induce a sense of wonderment in the drawer as well as the viewer. I draw upon disciplines of human geography which provide a humanist account of place and upon phenomenologists Martin Heidegger’s account on wonder and Maurice Merleau-Ponty’s account of perception to grasp an understanding of our embodied relationship to place and of drawing as a source for lived meaning. 

A documentary video of a chalk drawing on a concrete structure explores the pre- reflective perceptual experiences of drawing in response to place. This practice based research raises questions such as how might drawing sustain wonder and grasp the attention of the drawer and the viewer? The kind of wonder I refer to is a mode of wondering that stirs us, grasps us and suspends our attention even momentarily. To awaken a deep sense of wonder, I must first be filled with wonder, and be receptive to disorientation and unfamiliarity and be sensitive to the lived experiences. As a practitioner, drawing is a product of wonder and the drawn line is a constant source of wonder. 

Place can be defined on many scales and is formed though our perceptual experience as our eyes pause momentarily, at “whatever stable object catches our attention” (Tuan, 1977, p.161). If space is movement and place is pause, can 

drawing which is constituted with the essence of a lived experience, pause one’s attention to create a place from a non-place? (Tuan, 1977, p.6). Drawing is a means of orientating oneself to the felt and lived experience of place. It is a way of bringing forth something. It is a way knowing the world differently by griping the world pathetically (van Manen, 2007, p.268-271). Prior to the chalk drawing in the video, I drew several experiential drawings using pencil on paper by way of becoming attentive to place. I became open and receptive to the infinite possibilities of recording the essence of an experience with the knowledge that it offers a singular aspect of an experience. The drawings were an immediate and intuitive response to the wonderment of place rather than any attempt to describe the environment through a “gaze fixed at infinity”: as this is not how the world appears to us in our perceptional experience (Merleau-Ponty, 2004, p.17). Drawing is embodied: it is a projection of the body and, by lending the body to the world, the drawer confirms their bodily presence as mediator between the world and self. Although the immediacy of the lived experience is always passing, drawings dexterity to record the trace of the bodily presence and movement of the drawer is also, I suggest, a recording of the pauses in my perceptual awareness of the lived experience of place. 

Merleau-Ponty states the artist’s expression of an idea is insufficient and the artist must awaken the experience to make their idea take hold in the consciousness of others (Merleau-Ponty, 1964, p.19). Given that the immediate lived experience cannot be reiterated without something essential being lost, phenomenologist Max van Manen advises it can be restored by an indirectness of meaning of art or in this case, drawing (van Manen, 2014, p46). To offer an opportunity for the passer-by during a habitual walk to become attentive to their perceptual experience, I redrew one of the initial experiential drawings in chalk onto a concrete structure. There was no attempt to reproduce the initial drawing or to create any illusion. In contrast, the goal is ambiguity itself: an uncertainty, an indefinite space where wonderment may be sustained. Since the passerby sees the drawing according to the drawing rather than merely looking at it, the drawing reveals the essence of something in such a manner that the passerby is able to grasp the significance of their lived experience in a strange and wonderful way. My hope is to evoke a sense of strangeness, unfamiliarity, a perplexity that opens up a temporary ‘holding space’, a temporary dwelling. Within this ‘holding space’ the drawing may stir a sense of wonder in the viewer, who may by reawakened to the basic experience of the world and “hear the uncanny rumble of existence itself” (van Manen, 2011). 

Biography: Kiera O’Toole is an independent visual artist and researcher based in The Model Arts Gallery in Sligo, Ireland. Her practice explores the perceptual experience of drawing and considers the felt and lived experiences of place. O’Toole completed a MPhil (Fine Art) in Newcastle University, Australia and has exhibited in Ireland, Finland and Australia. She has obtained artists in residencies in Australia and Ireland and was a panelist for Bart Lodewijks’ exhibition in The Model and for the Australasian Conference for Irish Studies in University of Sydney and for the National Museum of Australia. Public and private collections in USA, Australia and Ireland. 

Contact: kieraotooleartist@gmail.com, http://www.kieraotooleartist.com 

Exchange + Draw (Richard Lloyd + Alan Parsons)- ‘Location Drawings’ 

Keywords: (It’s your) turn! Topographical, 1-2, conflict, partnership, process

This co-authored paper will target two questions that seem relevant to our current and on-going set of drawings, namely – Location Drawings. The two questions are: 

How a collaborative partnership engages in a response to place, and How the individual is re-shaped within a collaborative drawing process. These will be largely addressed together as they are indelibly linked through this current body of work. The chief aim of this paper will be to visualise some of the complexities of how ou

collaborative partnership functions in a response to place through analysis of the 13 drawings made to date in this series. These drawings put a focus on specific places in Bedford and use a rule-set where the chance roll of a dice is key to their evolution. Our approach will be to unpick the rule-set, reflect on the process and the resources used to make a drawing, as well as, illustrate the key phases and manoeuvres that we are conscious of and their significance to individual drawings. 

We will also make reference to other artist collaborations that also utilise a take-it-in- turns method, to focus differing tatics. Our pre-agreed rule set is the means through which we have cemented trust in our partnership, and on the back of this, we will highlight the shifting levels of freedom, responsibility and the necessary mental resolve required to create the dissolve of a third voice.   

Biography: Richard Lloyd and Alan Parsons began their collaboration as Exchange + Draw in 2010. They have used starting points such as memory, music, the alphabet, crank calls and location to develop dialogical drawing responses. Richard Lloyd studied B.A (Hons) Fine Art at Bath Academy of Art (1980-83) and M.A Painting at Chelsea School of Art (1983-84). He is a painter and also a part of another drawing collaboration with his son (Legepladsen), as well as, an educator. Alan Parsons studied B.A (Hons) Fine Art Painting at Norwich School of Art (1980- 83) and M.A. Education at OU (2001). He is a writer, painter and educator, and also currently working in a music/performance collaboration. Both currently live in Bedfordshire and work in Bedford and London. 

Exchange + Draw’s recent activities include:Drawing Conversations 2 Symposium: Location Drawings, Coventry University (2017) Radio Interview for Jerwood Drawing Prize (2016), Jerwood Drawing Prize (2015), Talking Heads, Animal Studios, Bedford (2015), Drawing Open, Salisbury Arts Centre, Salisbury (2013), Bridges, Fold Gallery/Curio Cabal, London (2012), As Yet Untitled? South Bank Arts Centre, Bedford (2011). 

Contact: http://www.exchangeanddraw.com/, exchangeanddraw@mail.com 

Ram Samocha – Draw to Perform ‘The Restless Body’ 

Keywords: drawing, performance, artist, body, movement, collaboration. 

This presentation examines the Draw to Perform project; while focusing on the stage, it provides exploration of the pivotal role of body, space and place in the discipline of drawing performance. In this context, I will review four drawing performances pieces that I created and presented in different Draw to Perform events. Key elements in these pieces are the usage of the body as a tool for drawing in live performances, in collaboration with fellow artists, and with audience participation actions. 

The first performance “Drawn to Perform” (2013) is a live drawing piece in which I have used theatrical, energetic and intense body gestures and colour pencils on a black painted canvas, to create a large-scale expressive abstract image.This piece deals with the solo body. The scope of the line is restricted by the limits of the body’s reach and its intensity feeds from the frustration caused by these boundaries. The action is intense, repetitive and primal. The outcome is extremely personal, and almost exhibitionist, emerging like a scream to be noticed and heard, reflecting vulnerability and strength simultaneously. 

I will, secondly, explain about a durational performance entitled “TOPing”. This work from 2015 is a three-dimensional piece created with use of silicon gun ejecting silicon of various shades of yellow, to create a large concentric image with the artist as its center and a diameter that is imposed by the physical reach of the artist. The creation process spans over six hours and is extremely laborious. This piece deals with the physicality of repetitive gestures, which are controlled, accurate, and precise. It explores the endurance through repetitive duration action, hours of concentration and hard physical work, as a tool to reach a meditative state. The tangible nature of the silicon adds to the physicality of the creative process and is reflected in the sculptural quality of the image. The vibrant color stands in stark contrast to the durational creation process. 

Thirdly, “Rotations/binding” (2016) is a short yet intensive drawing performance in which two artists tied to each other with a thread, create a single drawing using charcoal on paper. 

The outcome is intense and reflects pain, intensity of emotions and tension. There are two egos creating together, but at the same time fighting each other, there is aggression and compassion, marking and erasing, friendship and hostility, attraction and compulsion.The fourth performance, “The Sound of Drawing” (2017) reflects the live creation of a colorful web drawing using giant chalks on tar paper. This piece investigates collaboration and interaction between sound making and drawing. The sounds of the drawing were sampled and looped and manipulated in real time to compose a track, which then reciprocated back on the drawing action. This symbiotic collaboration yielded an extremely powerful energy and trans-like state which influenced not only the artists, but also the audience that was captured and immersed in the process and drawn to join the creation process in a communal meditative action. 

Contact: drawtoperform@icloud.com

Laurence Schmidlin- ‘Drawing as a tool for mapping the body in sp


Drawing has always been closely connected with the gesture that creates it. Throughout the 20th-century, it has become a kinesthetic and spatiotemporal incarnation that indexes the body’s actions and possibilities. Working with a tracing tool, artists explore the range of body motion within a room or within the surface of a sheet of paper. They index their action by making marks. Thus, a performative gesture becomes no more than a codified trace that loses any time dimension, and time is reduced to a series of abstract marks on the paper or on a wall. In this paper, I will review performances where drawing’s relationship with space and with site is body calibrated. These performances range from the body as a measuring unit to performances that explore the limits of the artist’s body. I will examine a series of art performances where the body and drawing are two parameters of the action, and I will then compare them to dancers’ drawing performances as dance is a body discipline. 

Biography: A specialist in the field of prints and drawing, Laurence Schmidlin received her MA and her PhD in Art History from the University of Geneva, Switzerland. Pursuing a career as a museum professional, she has interned and worked at many institutions in Switzerland and in the United States. Since last July 2017, she has been Curator of Modern and Contemporary Art at the Musée cantonal des Beaux-Arts de Lausanne, Switzerland. Her PhD thesis is entitled “’The Drawingness of Drawing’. The Spatialization of Drawing in American Art of the 1960s and 1970s” (2016) and was supervised by Prof. Dario Gamboni. 

Clare Smith- ‘Encountering Place: Boldshaves Garden’ 

In this paper, I tell the story of my encounter with the privately owned Boldshaves Garden in Kent and the methodology used in the resulting video. The video was screened in the potting shed in the garden during the Wealden Literary Festival 2017. 

l will begin with some brief scene setting and explain how I came to be there and follow this with a description of the video and talk about my approach to making it. I discuss how the process of making the video mirrors the slow process of discovering the garden using different modes of vision, by meandering through it and uncovering or making visible the hidden labour that goes into its creation. I also discuss the use of a go pro and multiple cameras to map the geometries of the garden and record the performative process of drawing, which I equate with the hand of the gardener, Duncan: both artist and gardener are engaged in shaping, creating, structuring and constructing an aesthetic experience. The cameras also record the ambient sounds and the conversation between myself and Duncan. Through that conversation I elicit 

information about the garden’s layout, concept and history (another cognitive process based on hearing and listening rather than sight and looking) and start to discover the social dimensions of the garden. I consider definitions of the garden as a constructed, bounded space and their use as places of relaxation that are designed to hide the labour that goes into their making and I also consider the nature of the borders that mark off the garden as a space. 

What starts as a portrait of a garden ends as a presentation of the experience of being in it, in the here and now. 

Biography: Clare Smith was born in Penang, Malaysia and was educated in England. She studied Oriental studies at Cambridge before spending 15 years in Luxembourg. In 1999 she returned to England to study Fine Art at The University for the Creative Arts (Canterbury) and subsequently received an MA from Central St Martins in 2011. She lives and works in Dover and is an artist and co-founderof Dover Arts Development (DAD). Smith works with drawing, print media, collage and moving image to investigate her ambivalent relationship to place, with references to craft, the importance of labour and the handmade. 

See: www.studio308ltd.co.uk 

Jenny Walden- ‘Drawing (Upon) Body Drawing- a work in progress’ 

In his essay “To Take Paper. To Draw”1 John Berger outlines three modes of drawing on paper and tells a story around each one. He suggests the modes as follows:“In the first kind of drawing, the lines on the paper are traces left behind by the artist’s gaze which is ceaselessly leaving, going out interrogating the strangeness, the enigma of what is before the eyes… 

In the second category of drawings the traffic, the transport goes in the opposite direction. It is now a question of bringing to the paper what is already in the mind’s eye…delivery rather than emigration…Finally, there are drawings done from memory…the most important drawings in this category…are made in order to exorcise a memory which is haunting…in order the take an image out of the mind…and put it on paper. The ‘unbearable’ image may be sweet, sad, frightening, attractive or cruel. Each has its own way of being unbearable…”2 

My conversation/paper will explore (perhaps with a need to ‘bend’ a little) two of these three modes, as modes of drawing with, of, for the body, as a ‘staging’ of the body. 

This is in order to consider the effect and affect in our responses to such ‘presenting’ modes of the body. The mode I wish to explore are Berger’s ‘first category’ and ‘third category’ and are ‘represented’ as follows:A work designed and choreographed by Jessica Bug, “Drawing with the Body and Cloth” directed by Tim Keeling (ref: you tube Drawing with the Body & Cloth- timkeeling.com) 2013. 

A documentary film ‘staging’ the body of her mother by theatre/film maker artist Adelheid Roosen in her film Mum 2009 which presents certain facets of her mother’s experience of dementia.What I want to explore is the effects on the viewer of drawing with, from, the body as certain ways of ‘staging’ the body. These ways are very distinct. At the same time arguably in both the viewer faces a certain mode of ‘dramatizing’ the body as ‘drawn’ or ‘imaged’ in ways that resist the ‘norms’ of representation.By norms of representation I mean those that may solicit in simple ‘naïve’ terms, ‘recognition’ or call for something we might term as our ‘empathy’. We may find instead the provoking of a range of more complex and in some instances difficult and ‘nonplussing’ responses which unsettle, generate discomfort but thus open us to further questions. 

Biography: Dr Jenny Walden is an Associate Dean at the University of Portsmouth, now based in the Faculty of Technology but in previous years, the Head of Art and Design, and continually a long-time teacher and researcher into history and theory of art, within the context of practice. Jenny has edited a published anthology of essays on ‘Art and Destruction’, Cambridge Scholars Press December 2013. She has contributed both as a conveyor and presenter at recent annual Association of Art History conferences, applying thinking broadly related to aesthetics, ethics and politics to different art forms and media. She is currently looking at the impact of ‘new materialism’ on art historical discourse and its interface with practices. 

1 Berger J (2016) “To Take Paper. To Draw” in Overton, Tom edited Landscapes John Berger on Art London Verso Publications pp 20-262 Berger J (2016) op. cit. pp 22-25 

Simon Woolham- ‘In Search Of The Shortcuts’

In Search Of The Shortcuts is a practice-led research project carried out from the perspective of an artist. By engaging in a practical and theoretical analysis of how walking and narrative interact in physical, virtual and psychological realms, it asserts that this interaction is vital for defining space. A self-initiated artistic residency is both central to the methodology of the project and enriched by the knowledge gained through the research. In Search Of The Shortcuts situates the past in the present, a shared affective experience around the suburban spaces of the artist’s childhood in Wythenshawe, which lies on the outer fringes of South Manchester. The artist also addresses the relationship between expanded drawing methods and narrative representation, in order to explore how the influence of Wythenshawe and the socio- political context of the 1980s have impacted on his practice. 

The research draws upon the artist’s own past residency experiences, as well as current definitions of the artistic residency. Alongside this, the research explores relevant arts projects and spatial, poetic and non-linear literature that engages with a past to emphasise a present. This draws on Freud’s theories relating to autobiographical and procedural memory, specifically, Freud’s texts Remembering, Repeating and Working Through (1914) and Screen Memories (1899) that analyse an engagement with specific forms of childhood memory and deliberate why we return to fragments of them later in life. Retrieving and activating narrative throughthe practical methodology of walking is employed through a series of narrative guided walks – both physical and virtual – that are referred to as the Wythy Walks. The virtual, online process, which continually reveals collective and personal narrative and reflection, is examined as an artistic/curatorial tool for an exhibition called Unstable Ground. The relationships between the recorded walks and the drawn-out narrative and spaces are presented through an online artwork, also called In Search Of The Shortcuts, which incorporates a live outline version of Google Maps. The website maps out and activates the multi-sensory practice, methodology and theory, designed to be experienced in a way that is relevant to the research. Through practical analysis, narrative related to a past is generated. Whilst simultaneously interpreting, connecting with and within a present through the process of the Wythy Walks, the project supports engagement with shared outside, suburban spaces. The environments walked through become, simultaneously, vistas of history; that are interpreted and spoken through them. The Wythy Walks define and emphasise space and time as neither static nor linear. The research promotes the definition of spaces as an articulation of a past within a present, through physical and virtual arenas, a valuable collaborative methodology, communicated and presented through the website model. 

Biography: Dr Simon Woolham has a BA (Hons) in Fine Art from Manchester Metropolitan University and an MA from Chelsea College of Art in London (awarded 2000). 

Simon’s practice as an artist, curator and teaching specialism is centred around expanded drawing research and methodology and this was the focus of his practice- led PhD from 2012 and awarded in 2016 at Manchester Metropolitan University. The PhD explored walking (in the broadest sense) and narrative in physical, virtual and psychological space, expanding on the notion of an artists’ residency of the mind. Between 2000 and 2012 Simon exhibited widely, including a residency and solo exhibition at The Lowry in Salford and Chapter Gallery in Cardiff, as well as numerous national and international group exhibitions. In 2008 he was included in the first Tatton Park Biennial and in 2006 he was Artist-in-Residence at Baltic – Centre for Contemporary Art in Gateshead, he won the Mostyn Open 11 at Oriel Mostyn, Llandudno in 2001. Simon continues to develop his practice as an artist and researcher and since 2012 he has been curator and artistic programmer of the artist- led gallery PAPER in Manchester. He has presented papers at conferences both nationally and internationally, most recently at ‘Mapping Culture’ a conference in Coimbra, Portugal, and a ‘Deep Mapping’ conference at UCL in London. Currently, Simon is leading a project called ‘Art Work Placement’ with the innovative Arts organisation Fermynwoods Contemporary Art in Northamptonshire, whose ethos is ‘infiltrating the everyday’. The ‘Art Work Placement’ project is directly informed by Simon’s particular area of research, generating narrative, and also explores how artists’ processes and ideas can shed light on traditional institutional practices. In this instance, Simon is testing virtual and digital platforms with employees of a care home, in relation to memory and sense of place. 

Simon teaches undergraduates across BA (Hons) Contemporary Art and Illustration at the University of Huddersfield. 

i Da Vinci in Rosand, D. 2002, Drawing Acts – studies in graphic expression and representation, Cambridge: Cambridge University Press p.111 iiMerleau-Ponty, M. 2002 p.239 

Poster Presentations: 

Sabine Kussmaul Sabine graduated as a Fashion Designer from Hochschule Pforzheim, Germany. As drawing and sculptural aspects of the human figure were her main interest, she soon moved into Illustration. Some of her experimental and process-based working methods could combine with free-lance work and with teaching Drawing. After moving to the UK, she gained a PGCE (FE). Since 2008 Sabine has focussed on a visual arts practice based on line in multiple image contexts. Since October 2016 she has been studying for a masters degree at the University of Chester where she explores how drawing and installation can communicate about the relationships between self and environment. See: www.sabinekussmaul.com  

Joy Monkhouse 

Senior Lecturer, Researcher and Senior Fellow HEA, Faculty of Arts and Humanities, Coventry University. Joy has over 15 years professional experience as a Design Manager; children’s and educational publishing, e-learning, multimedia, instructional design, marketing and communications, and project management. 

Research Interests 

  • Design and communication / Health and communication strategies 
  • Employability and professional accreditation 
  • Digital publishing and illustration 
  • Design management 
  • Current Funded Research: Health and Communication strategies
  • Currently working as part of a collaborative cross-faculty research group, funded by The Health Foundation and NHS Coventry UHCW. Involved in the evaluation, communication and spread of an innovative new community clinic model for COPD. 

Joanna Neil 

Joanna is currently working on her PhD at the University of Glasgow. She is based in the school of Education where she is bringing together her research interests: Arts, Education and Technology. She is interested in what can be made visible by reflecting and re-seeing through different media and using digital auto-ethnography as a methodology to do this. She teaches drawing, research methodologies, reflective practice and textiles at University Centre Blackburn College. Drawing is central to her practice, happily moving from pen to sewing machine to digital voice recorder to explore this. 

Research blog: https://feltlikeit.wordpress.com/ Digital auto-ethnographic research project: https://drawnconversation.wordpress.com/