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1 MA Drawing Wimbledon College of Arts 2015
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MA Drawing Wimbledon College of Arts 2015
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Foreword
Chuan Lu
Inês Magalhães
Jezella Pigott
Jyotsna Singh
Nikita Kripalani
Hon Ka Wai Sandy
Shaun Dolan
Shefali Wardell
Yu Zhou
MA DRAWING 2015
MA Drawing September 2015
University of the Arts London: Wimbledon College of
Arts
Merton Hall Road, London SW19 3QA
Cover illustrations and portraits by Zhou Yu
Designed by Sandy Hon
Edited by Shefali Wardell
All images are courtesy of the artists
Printed and bound in the UK
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MA Drawing Wimbledon College of Arts
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The MA Drawing exhibition presents what happens when you bring together ��$/,2-�,#�-",-)"�#/,*��/,2+!�1%"�4,/)!�4&1%���/�+$"�,#�!&ƛ"/"+1�disciplines, backgrounds, and obsessions. As they learn together they share �� ,**&1*"+1�1,�2+!"/01�+!&+$�1%"�0-" &Ɯ &16�,#�!/�4&+$��0���#,/*Ǿ�4%&)01�recognising that drawing is not separate; it is a fundamental visuallanguage of thinking and communication that is very much part of the world.
A line runs through the exhibition connecting threads of thought and action that test and expand what a drawing might be.
Drawing as the dance of a whirling dervish.Drawings that systematically break down and transcribe a Fragonarddrawing.Drawings that manipulate material into unique photographic chemigrams that resist the digital.Drawings that rapidly trace a projected passing moment of movement through a crowd.�/�4&+$0��0�4&1+"00�1,�1%"�1/�2*��,#� ,+Ɲ& 1ǽDrawing into painting and painting into drawing.Drawings that capture a tiger's tail as a trophy in graphite.�/�4&+$��0��+&*�1"!�0,2+!�1%�1�Ɲ,�10�2-�1%/,2$%�1%"�*20& �)�01�3"ǽDrawings where a line goes for a walk, tattooed directly onto the wall, or Ɲ&"0�,+�1%"�1/�-"7"Ǿ�,/� ,+1,/10�&+1,���+"4��)-%��"1�1,�0�6�0,*"1%&+$�#,/�1%"�Ɯ/01�1&*"ǽ�
Tania KovatsCourse Leader MA Drawing
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CHUAN LU
I come from Shanghai, China. In the past few years, static or two-dimensional drawings and colour have been my main interests. With the expansion of my mind, and emersion in ,+1"*-,/�/6��/1Ǿ���/"�)&7"�1%�1�my own art language should follow the times. My work is 01�/1&+$�1,�1/�+0#"/�#/,*�Ɲ�1�paper or canvas, to speakers, screens and cameras.
Traditional two-dimensional artworks seem to give a passive way into people’s insight. I have made abstract drawings with lines and circles and colour. I use multi-dimensional methods to show a kind of interactive way for people to join in with my artworks.
Both sound and light are part of how people feel in daily life, �+!�1%"6�&+Ɲ2"+ "�"3"/61%&+$�around us with its changeable condition. But we may not pay enough attention to some details of those natural changes. So by recording or Ɯ)*&+$���0-" &�)�-�/1�,#�1%"�surroundings, I attempt to transform them into a drawing language. One of my video works is a drawn animation of the growth of a tree in four seasons,
but without sound. With the moving of each frame, I try to "ƛ" 1�1%"�!6+�*& �transformation of each of the audience’s feelings and ideas, following their thought.
It is my ambition to develop drawings in a particular form, ‘hearing the drawing, seeing the sound.’ I seek to make the sound )"�!�1%"��2!&"+ "ȉ0�*&+!�Ɯ/01Ǿ�and give them space to imagine frames by themselves, touching their personal experiences and knowledge. Maybe the image is not the important part of the work, while the feelings of -",-)"��/"�*,/"�Ɲ"5&�)"�1%�+�judgment through our eyes. Sometimes it is a cheat or fake.
CHUAN LU
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Email: [email protected]
Instagram: ines.magalhaes
Inês Magalhães
Every phenomenon of the external and of the inner world can be given linear expression a kind of translation.
‘‘Wassily Kandinsky’’
The reason I express myself through drawing is because I believe it allows me to understand the world in a !&ƛ"/"+1�4�6ǽ��6�4,/(�represents the way I perceive my surroundings. �0&+$��� ,+1&+2,20�Ɲ,4&+$�)&+"���draw my own shadow, -/,'" 1&,+0�,#�Ɯ)*0Ǿ���-"/0,+���love or a stranger on the bus. My 4,/(�&0���/"Ɲ" 1&,+�,#�1%"�4�6���face life.
Curiosity leads my way through everything I do.
Inês Magalhães
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brought to life. Trace, mark, rhythm and ritual. Drawing is a dance.Pigott’s practice involves rapid making of drawings, objects, videos and photography and music.Currently in large two dimensional works, Pigott uses oil pastels, charcoal and electric erasers. The drawings appear to be in motion like a planet, with a clear trajectory. Other drawings �--"�/�1,�0%,4�"ƛ" 10�,#�1%"�$/�3&-tational pull on an object. The circle is central to many of the drawings, settingsparameters, boundaries within the work, allowing room for drawing to be tested, even deconstructed, with Pig-ott’s own identity held in each work.
‘‘I followed her into the wall. I found myself passing through a pocket of air.It was as cool as water. Time wavered, sequentiality twisted, gravity lost its force….The earth expanded, then %&))"!��+!� ,+1/� 1"!ǽǽǽƝ"0%�*")1"!�to bone and blew away like dust...my body decomposed, blew apart-and was whole again.’’
‘‘Dance Dance Dance by Haruki Mu-rakami ‘‘
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Jezella Pigott
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One line connects to another as you walk, spill, trip, lie on, smash and dance.These are the traces we make with our bodies over time, which is the common language we share with drawing. "7"))���&$,11�0"10�,21�1,�"5�*&+"�%,4�her body engages with a place. Making work in this way allows Pigott to test the limits of her body through drawing. Gesture is explored in relationship to movement.Using the body as a vehicle, Pigott’s drawing addresses the travelling line and its motion through 2d and 3d 0-� "Ǿ�,ƞ"+�20&+$�1%/"�!�1,��2&)!�1%"�drawing into the 3 dimensional. The narrative within each work introduces a fairy tale language to the animated spatial drawings. Drawing becomes a form of enquiry, a form of excavation.Pigott’s training as a contemporary dancer brings drawing and dance together in ‘Dance of Bantu’ (ink/paper/ ,ƛ""ȡ02$�/ȡ,&)ȡǾ�ǗǕǖǚȜǾ���0-&/�)&0"!�structural drawing occupying a circular ǘ�!&*"+0&,+�)�)�+!0 �-"�,#�&+(�Ɯ))"!�paper cut headless dancers. The !�+ "/0�-&/,2"11"��+!�/& , %"1�,ƛ�,#�one another using the momentum of forces around them as representative of the movement within drawing. Coupled with these drawn gestures, the paper curls and creases as gestures are
Jezella Pigott
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animals by attempting to not just draw them, but also capturing the moment they are in. Presently I use pencil and charcoal to express myself and %&$%)&$%1�4%�1���Ɯ+!�*,01�beautiful and fragile in life.
Jyotsna Singh
I have a deep fascination for wildlife, which was strengthened by the abounding forests of Central India, where I was born and spent most of my childhood. Since then my interest in travelling and visiting natural habitats has helped me explore my passion for nature and watching birds.
I started drawing when I was majoring in Political Science in Delhi. As I began to draw with more regularity, every new drawing gave me an opportunity to see the world and nature in a +"4Ǿ�*,/"�#2)Ɯ))&+$�*�++"/ǽ��6�research into mythology and semiotics has changed my thought process and also my practice by making it more informed and conscious of issues related to wildlifeconservation that concern me $/"�1)6Ǿ��+!�!&/" 1)6��ƛ" 1�20��))ǽ���%�3"�/"Ɲ" 1"!�,+�%,4��/1��+!�artists contribute to this urgent and pressing matter of the need to address our current environmental crisis.
My drawing practice primarily involves representing the subject with utmost care and devotion. In my drawings I try bringing out the extraordinary beauty of
Jyotsna Singh
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in itself is an equal imperative to the subject or 'story'.
http://www.nikitakripalani.com
Nikita Kripalani
"I sometimes think there is nothing so delightful as drawing"
- Vincent Van Gogh
My drawings are about theprocess of creation and its "+!)"00�-,00&�&)&1&"0ǽ���Ɯ+!�1%�1�drawing is a basic tool for outlining the reality of ideas; it conjures up reality out of nothing. Primarily working with pencil and within a monochromatic colour scheme, I consider drawing as a means for developing my power of observation. My drawings tend to develop slowly. The combination of this gradual process and the delicate nature of my work, allows me to become deeply involved with the subject. Although the subject matter tends to vary, there does seem to be one common thread woven throughout my drawings; ���*�,ƞ"+�,�0"00&3"��+!���$"1�lost in detail. Central to my practice is an investigation of transcription. Carefully observing the image beforehand gives me an idea of how to produce it. For me, it's just as important to fully consider which parts to include and which parts to omit. In the end, the quality of the drawing
Nikita Kripalani
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!&ƛ"/"+1�4�60ǽ��1�&0�-,00&�)"�#,/�20�to visit locations on another planet without really being there, as these are recorded and available for us to view any time. This is about displacement in the virtual space.
http://sandyhonphotography.com
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Hon Ka Wai Sandy
My work explores the moment between analogue and digital technology.
The technology of the smartphone has enabled us to con-veniently document the day to day activities we partake in as individuals. Social Media networks, such as Facebook, give us a platform on which to display images. Instagram allows us to �--)6�Ɯ)1"/0��+!�"!&1�,2/�-%,1,0�1,�customise them to our taste.
The use of photography within my generation has changed its nature as well as how we see the world. I interlink my background in drawing with my interest and research in photography.I like to use more traditional tech-+&.2"0�1,� /"�1"�*6�4,/(Ǿ�)&("�Ɯ)*�photography, dark room processing and cameraless methods.
The results may appear to look digital, however the processes I use are the manual manipulation of physical materials to generate chemigrams. Chemigrams for me are an alternative drawing approach using wet photographic methods.
I would like to contribute to the world discussion about how we can see a single image in so many
Hon Ka Wai Sandy
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http://www.shaundolan.co.uk
Shaun Dolan
Art can take many forms; a historic moment, a political statement, a distraction, a therapeutic tool, an exam subject - all with an overriding foundation of drawing.
Shaun Dolan is an artist who uses drawing in his practice as means of engagement to interact and inform.
Shaun’s research into participatory art and its "ƛ" 1&3"+"00��0���1,,)�#,/�)"�/+&+$�%�3"�0&$+&Ɯ �+1)6�informed his practice, establish-ing his role as a facilitator of art. In addition to this, his research %�0�"*-%�0&7"!�1%"�&*-,/1�+ "�drawing as a transformative process for young people, particularly those who are 02ƛ"/&+$�1%"�"ƛ" 10�,#�1/�2*�ǽ In his work ‘War Through The Eyes of a Child’, Shaun has extracted elements from children’s drawings made in �7��&+�1%"�14,�4""(0�#,)),4&+$�1%"��0/�")Ȓ�7�� ,+Ɲ& 1�ǗǕǖǙǾ��+!�%�0�"+)�/$"!�-�/1& 2)�/�Ɯ$2/"0�to better demonstrate the harsh reality of the child as witness.
Shaun Dolan
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http://www.overeggingthepudding.com
Twitter: @puddingpress
Shefali Wardell
Writing and drawing are the same.A line leaks out of the body.Something escapes human containment.
It’s not abject though. It might be like faecal matter, but for me all that makes me human is not abject, and the body is not only a stinking heap of shit or rotting sack of meat.
Whatever seeps out may be !&ƛ"/"+1�"� %�1&*"ǽ�It may be shit, or blood or fear or love, envy, energy, saliva or psyche.
All of those are the same, somehow held together infragility for just a brief moment in time.
�,*"1&*"0�&1�#"")0�)&("���Ɯ$%1�1,�keep it contained. �1�&0�4%,)"��21�Ɲ,40�#/""ǽ�
Shefali Wardell
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Yu Zhou
As a young artist who comes from China, I have studied watercolour painting for more than seven years. I observe a !&ƛ"/"+1��+$)"Ǿ�#, 20&+$�,+�1%"�details that people easily ignore.
I am intoxicated by drawing; because drawing for me is the most liberated way to express my emotions and feelings.
�%"+����*��ƛ" 1"!��6�0,*"-thing, an impulsion grows in my heart and becomes the source and motivation for creating. When I am pouring my spirit into my drawing, at that time I am “unstoppable” and�Ȋ,*+&-,1"+1ȋ�1,�Ɲ,,!�*6�1/2"�thought. I stay in an isolated place; nobody disturbs me. In this way, I think drawing is a contest with myself. But now, drawing has �)0,��/,2$%1�*"�0,*"�02ƛ"/&+$ǿ���01�/"��1�1%"�2+Ɯ+&0%"!�4,/(�#,/�a long time, because too many details trapped me and made me hesitantly draw a mark or an action.
I pursue a perfect result. Obviously, it is impossible, but whatever the result is, I have been drawing.
Yu Zhou
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