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Guest Kim Anderson generously shared her reflection on the Online Event, saying

"I was so impressed with everyone's presentation, the authenticity of each artist's practice was really apparent.

Clearly the benefits of the residency have been immense and ongoing, and there was a lovely synergy between the group.

There was something very elemental and grounded about much of the work shared, and it seemed like many of the participants underwent an awakening of sorts.

Drawing is the medium closest to my heart for many reasons, it feels like the most truthful way to make sense of the world around us. In fact it's the expansive and open-ended nature of this enquiry that makes the medium so special.

I was reminded that observational drawing - observing with all the senses - is such an effective way of being truly present in the moment. I also believe in the importance of drawing as a therapeutic process to work through grief and trauma, and I'm really grateful to the artists for opening up about some of their own very personal experiences.

Many of the concepts I wrote down during the (online Event) session have given me so much to think about in relation to my practice both now, and going forward.

Transitory experiences, embodied looking, mapping, pathways, how to depict sound and memory, temporality, and something that is always in the back of my mind - how to break habits in order to challenge myself and explore new territory. This has been an invaluable reminder about the benefits of slowing down and reconnecting with the fundamentals of drawing, which will only enhance my practice overall.

It's a long time since I've had the opportunity to engage in such deep discussion about drawing, thank you again for including me."

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On 25 March 2023, we came together again in our Online Event that was a celebration and a revisiting of what took place during the Group Residency. In this focussed period of time, residents shared where each is with their practice and research in 2023.

Continuing the spirit of inclusion generated in the Group Residency, the artists Kim Anderson and Gemma Petrie were invited to join the event, to listen to the residents and to think about their own practices in relation to the work undertaken during, and due to, the DRAWING INTO BEING Group Residency. Kim is based on Dja Dja Wurrung* land in Victoria, Australia, and Gemma lives and works in Portmahomack, on the Tarbat* Peninsula in the north of Scotland.

*Dja Dja Wurrung are an Aboriginal Australian people who are the traditional owners of lands including the watersheds of the Loddon and Avoca rivers in the Bendigo region of central Victoria, Australia.
*In Gaelic 'tairbeart', meaning 'a crossing or isthmus'.

During the event's ‘Thinking Sessions’, each resident took a turn to talk and think through speaking while the rest of the participants listened. Time was made for questions, both spoken and written in the Zoom ‘chat’ facility. Tracy, in her frequent role as the ‘Creative Correspondent’ made rapid annotations, the transcriptions of which are shared below.

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Harriet Carter, Online Event, DRAWING INTO BEING, 2023

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Harriet spoke to us from her studio in Worcestershire, a county in the West Midlands of England, at 10:00.

She told of her renewed attention to embodied knowing in her practice, partly awakened in her whilst working in collaboration with Catherine (Fraser) during the 'Visual Dialogue' session in Cerreto, Italy during DRAWING INTO BEING, 2022. Her current work requires her to consider how to give dialogue to two landscapes - Collemacchia and Worcestershire - in a new Notebook. What new thing might be created by bringing together the differences of those places?

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Holly Fay, Online Event, DRAWING INTO BEING, 2023

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Holly was with us from Regina, Saskatchewan, Canada at 04:00.

Beginning with a recap of the work that she was making when she arrived at DRAWING INTO BEING in Collemacchia, Holly talked to us about precipitation: any liquid or frozen water that forms in the atmosphere and falls back to the earth. Through a series of delicate images, she included her attention to the 'more than human', mark-making and the making of pathways in landscapes in various seasons.

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Catherine Fraser, Online Event, DRAWING INTO BEING, 2023

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Catherine greeted us from Victoria in Vancouver Island, British Columbia, Canada at 03:00.

When she arrived in Collemacchia Catherine was grieving the loss of her mother. Since the Group residency she is immersed in her creative practice with renewed confidence. Most of her work during the Group Residency was about recording her days. The 'slow looking' sessions have encouraged her investigation into slow drawing. Her Group Residency experience was very fertile, and what has lingered is walking, breathing and translating. The Group Residency has motivated Catherine to apply for other residencies.

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Anette Lundebye, Online Event, DRAWING INTO BEING, 2023

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Anette joined us from London, England at 10:00.

Starting with a comment about the presence of sound in the Collemacchia landscape, Anette acknowledged Harriet's (Carter) embodied practice. The Group Residency made Anette aware of the requirement of any future residency: that it needs to make her feel she is part of the place. She described three current projects: a book about her relationship with her deceased brother, the process of applying for a practice-led PhD (What is my artistic practice?) and 'smell landscapes'.

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Odarley Morton Palomes, Online Event, DRAWING INTO BEING, 2023

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Odarley shared her current work, from south west France at 12:00.

What a trip! exclaimed Odarley, expressing how the Group Residency enabled her to reconnect with herself and with her practice: re-looking and re-viewing. She has become able to open herself up to what she wants to do and explore as a Black woman e.g. migration, assimilation, immigration, traditions and appropriation. What she took from the residency includes trusting her gut and embracing her journey.

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Cinzia Schincariol, Online Event, DRAWING INTO BEING, 2023

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Cinzia was with us from Melbourne, Australia at 21:00.

Cinzia showed us a film made in collaboration with others, about drawing through human-machine relationships. The wheelchair that was assembled and disassembled contained the marks and traces of its owner. Her investigation into what is visible and what is invisible included the moving paper object that she inhabited, her manipulation of the material creating faces and shadows, touching on mental health considerations.

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Looking onto contemporary Filignano (1800-), from Filignano Vecchio (Old Filignano)

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Images from 'The Drawing Book', read by Catherine Fraser

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Kovats, Tania, (Ed) 'The Drawing Book: A Survey of Drawing: The Primary Means of Expression', London: Black Dog Publishers, 2007

This quote from the book exemplifies and describes my artistic process, “For William Kentridge the starting point for all his work is the insatiable desire to draw”. “Drawing for me is about fluidity. There may be a vague sense of what you’re going to draw but things occur during the process that may modify, consolidate or shed doubts on what you know. So drawing is a testing of ideas; a slow motion version of thought. It does not arrive instantly like a photograph. The uncertain and imprecise way of constructing a drawing is sometimes a model of how to construct meaning. What ends in clarity does not begin that way”.

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The SPRINT REVIEW was a space for residents to loop back to their own introductions at the start of the Group Residency, framed by the considerations 'where are you now, what new questions do you have?'.

Residents made short presentations to the group, highlighting key thoughts, ideas and considerations from the week's activity by talking through work in progress.

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References, Residents, Drawing into Being, 2022

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References (Residents) Drawing into Being 2022

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References, The Museum of Loss and Renewal and Danica Maier, Drawing into Being, 2022

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References (Facilitators) Drawing into Being 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Gemma Campbell and Anette Lundebye, VISUAL DIALOGUE, Cerreto

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Tamsin Spargo and Holly Fay, VISUAL DIALOGUE, Cerreto

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Catherine Fraser and Harriet Carter, VISUAL DIALOGUE, Cerreto

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Cinzia Schincariol and Odarley Morton Palomes, VISUAL DIALOGUE, Cerreto

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Abandoned personal belongings, VISUAL DIALOGUE, Cerreto

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Figuring out how to navigate using analogue and digital compasses, COMPASS WALK, Collemacchia

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Tamsin Spargo, COMPASS WALK, Collemacchia

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Anette Lundebye, Odarley Morton Palomes, Tamsin Spargo, Holly Fay. SLOW LOOKING, Filignano

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Odarley Morton Palomes, SLOW LOOKING, Filignano

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Slow Looking session Odarley Morton Palomes

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Gemma Campbell, Anette Lundebye, Harriet Carter, Tamsin Spargo, Odarley Morton Palomes, Cinzia Schincariol, Catherine Fraser, Holly Fay and Danica Maier

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Tamsin Spargo and Gemma Campbell drawing in Filignano Vecchio, during GREETING PLACE: a guided walk

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Tamsin Spargo and Gemma Campbell drawing

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Danica Maier reading with residents during GREETING PLACE: a guided walk, Collemacchia to Filignano Vecchio, up and through La Pineta, led by Tracy Mackenna, 02 July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Collemacchia, Apennine and Mainarde mountains, July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Collemacchia, Apennine and Mainarde mountains, July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Guided walk 03 July 2022, led by Tracy Mackenna

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GREETING PLACE: a guided walk, from Collemacchia to Filignano Vecchio, up and through La Pineta, led by Tracy Mackenna, 02 July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Walking the path from Collemacchia to Cerreto, to VISUAL DIALOGUE session: a devotion to Alessandro Coia, hand painted ceramic glazed tiles, 1899

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Devotion, to Alessandro Coia, 1899, hand painted ceramic glazed tiles.JPG

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Podarcis sicula, the Italian wall lizard or ruin lizard

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Valle del Fosso, above Collemacchia, 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Le Mura di Mennella, extensive network of pathways, 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Capanna, shepherd/pastoral shelter, 1800-, Colle Romano, 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Capanna, agricultural shelter, 1800-, Collemacchia, 2022

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Managing rewilding, terraces around Collemacchia, July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Il Museo, accommmodation and studios, The Museum of Loss and Renewal, Collemacchia

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Il Museo building, The Museum of Loss and Renewal, Collemacchia, July 2022

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SLOW LOOKING, Chiesa della Santissima Concezione / Church of the Immaculate Conception, Filignano

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Slow Looking session, Chiesa della Santissima Concezione : Church of the Immmaculate Conception, Filignano 

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Residents walking into Collemacchia, concluding GREETING PLACE: a guided walk, July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Residents walking into Collemacchia, July 2022

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Danica Maier reading from David Bohm, On Dialogue, Routledge 2004, VISUAL DIALOGUE, Cerreto

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Collemacchia, in piazza 'compass', Filignano, 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Collemacchia in stone, Filignano piazza, July 2022

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Cinzia Schincariol, fellow residents and Danica Maier with the cetonia aurata, rose chafer beetle, Collemacchia, July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Cinzia and beetle, Collemacchia, July 2022

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Collemacchia, in the Apennine and Mainarde mountains, July 2022

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Photograph by Mark Kilsdonk for The Museum of Loss and Renewal

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Welcome, DRAWING INTO BEING, Collemacchia, 01-07 July 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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PLACE, PEOPLE AND TIME: DRAWING INTO BEING Group Residency, 2022

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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'Slow Philosophy: Reading Against the Institution', being read to the group by Danica Maier in Filignano's piazza, in advance of a 'slow looking' exercise

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'Slow Philosophy: Reading Against the Institution', Michelle Boulous Walker, Bloomsbury, 2016.

Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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'Clarity & Connection', Yung Pueblo, Andrews McMeel Publishing, pp.79-80, 2021.

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'Thin Paths: Journeys In and Around An Italian Mountain Village', Julia Blackburn, read by Catherine Fraser

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“It’s as if time past, time present and time future is stretched out around us like a vast landscape and we are walking through it on a tracery of thin paths”. This quote reminded me of our first day hiking in and around the mountains.

Blackburn, Julia, 'Thin Paths: Journeys In and Around An Italian Mountain Village', London: Vintage, 2012.

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Read by Anette Lundebye, after Danica Maier's reading, at the foot of La Pineta / the Pine Hill 

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Anette read ‘early fall’, from the book that she brought with her to Collemacchia, ‘alphabet’, by Inger Christensen

Christensen, I. (1981, 2000). 'Alphabet'. Translation: Susanna Nied. Bloodaxe Books: UK.

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The Museum of Loss and Renewal library, Collemacchia

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Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Emma Cocker, (2016) from 'The Yes of The No', Joff and Ollie Studios, Nottingham, p. 111.

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Read by Danica Maier at the foot of La Pineta / the Pine Hill 

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Bell Hooks, (1995) from 'Women Artists: The Creative Process' in Art on My Mind: visual politics, W.W. Norton & Company Inc., New York, pp.125-126.

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Read by Danica Maier, in the heart of Filignano village, in front of the church Chiesa della Santissima Concezione and the Municipal offices

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Minna Salami, (2020) from 'Of Knowledge in Sensuous Knowledge: A Black Feminist Approach for Everyone', Bloomsbury Publishing, London. pp. 14-15, 21, 24.

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Read by Danica Maier, in the heart of Filignano village, in front of the church Chiesa della Santissima Concezione and the Municipal offices

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Shari Tishman, (2018) from  'Introduction: Slow Matters in Slow Looking: The Art and Practice of Learning through Observation', Routledge, New York, pp. 1-7.

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Read by Danica Maier in front of abandoned homes in the village of Cerreto

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David Bohm, (1996) from 'On Communication and On Dialogue in On Dialogue', Routledge Classics, New York and London, pp. 2-4, 6-7.

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Stuart Firestein, (2016) from 'Fail Better: Advice from Samuel Beckett' in Failure: Why Science is so successful, Oxford University Press, New York, pp.25-28.

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Nancy Kline, (2015) from 'The Introduction and What is the Secret?' in More Time to Think: Listening to Ignite the Human Mind, Cassell Illustrated, London, pp 15-16, 31-33 (scan taken from Kindle Books).

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'Slow Philosophy' being read to the group by Danica Maier in Filignano's piazza, in advance of a 'slow looking' exercise.

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Sound recording by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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Pilgrimage to Collemacchia, Italy began with five chosen words: migration, immigrant, assimilation, traditions and renaissance.

From the start, discussions focused on explorative practices, reminding me that I had forgotten my conceptual artist roots.

Days one and two were of re-self discovery, a REAL spiritual awakening. I re-examined my practice and un-processed my humility to better understand my artistic abilities. Often, I felt tongue tied and unsure of what questions I needed to have answered but hearing others look and understand, critique and question, gave me confidence. It helped me to see that peer critiques are an important tier that had been missing in my life. On my return home, I reached out to nurture this with a small group of artists in my village.

Today, I take time to observe, listen and draw carelessly everyday as a developing tradition.

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The residency ‘Drawing into Being’ was an invitation to immerse myself in place and to practice presence.

The landscapes, soundscapes and smellscapes all invited me to tune more consciously into my sensing. This created more awareness of how to ‘draw’ on and with these impressions, and to become more intimate with my mark-making again.

The beckoning of the surroundings facilitated a bit of rewilding of the mind. Our walks and talks, the readings and sharing, helped further frame a better understanding of my need for creating loose structures to explore and experiment with drawing.

I was also reminded how context provides structure for meaning in my work. Being with a group of artists made me feel part of a community of practice, which was deeply nurturing. I come away feeling more connected and confident, with an expanding practice.

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I approached the residency with an open mind and was open to seeing how the exercises we undertook and interactions with other artists influenced my practice. The concept of slow looking became particularly important for me and I began incorporating this into my studio work, and have continued to do so after the residency. This altered my approach to drawing, making my work slower and more mindful. The idea of having time and space was significant for me. The influence of slow looking led to further developments with filmed performative work. My approach to work during this time was playful and experimental.

The references I use for drawing expanded during the residency. Being in an environment that’s so different to usual for me, I started to take inspiration from the landscape and objects within it. This was a new development and is something I’ve continued to explore in subsequent work.

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Abstract conceptual drawings and sonic work by London-based UK contemporary artist Tamsin Spargo. Email tamsinspargo@googlemail.com for sales enquiries.

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Landscape study, charcoal on paper, Tamsin Spargo, Drawing into Being, 2022

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Sketchbook page, fineliner on paper, Tamsin Spargo, Drawing into Being, 2022

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Italy, Tamsin Spargo, Drawing into Being, 2022

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Beanbag studies, Tamsin Spargo, charcoal and graphite on paper, Drawing into Being 2022

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Beanbag studies, Tamsin Spargo, Drawing into Being, 2022

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On the final day of the residency the group engaged in a THINKING / LISTENING ENVIRONMENT based on Nancy Kline's Thinking Environment.

The foundation of the Thinking Environment lies in one observation and one question: 'the quality of everything we do depends on the quality of the thinking we do first',
and 'what does it take for people to help each other to think well for themselves?'.

The purpose of the THINKING / LISTENING ENVIRONMENT session was to facilitate quality reflection by individuals and thinking about their specific experiences and development throughout the week.

Each resident took time to consider, think, and speak to enable their own understanding and clarity of the week’s drawings, artworks, events, actions, interactions, discussions, and effects.

Through a value-based philosophy of communication the session enabled quality and clarity of individual's thinking and reflection through the group's focused listening attention.

In keeping with the nature of the THINKING / LISTENING ENVIRONMENT, there are no images of this session. It took place in the beautiful July heat and breeze amidst insects, birds, mammals, vegetation, trees and stone, on the hill above il Museo, The Museum of Loss and Renewal's work / live building where the majority of the indoor residency programme activities were held.

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Located within a poignantly abandoned former home in the village of Cerreto, the group were paired and invited to engage in a silent VISUAL DIALOGUE between themselves and the site. The village is largely silent, the majority of houses have been vacated, many still containing personal possessions, due to economic migration.

Prompted by David Bohm’s thoughts on how, through dialogue, ideas or information is not intended to be made common but rather that something in common is created or made new together. Bohm advocates for '... deeper listening and more open communication to cope with the complex problems facing our organizations, businesses and societies'.

The pairings of residents with the non-human third participant of site worked jointly to develop modes of visual dialogues through drawing, sound, movement, and site responsive installation.

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Shari Tishman defines slow looking as 'taking the time to carefully observe more than meets the eye at first glance'.

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Working with the centre of Filignano village the group engaged in a series of SLOW LOOKING exercises based on Shari Tishman's book ‘Slow Looking’, complemented by Danica Maier and Andy Pepper’s exercise from the ‘No Telos’ project and publication*.

Through drawing the group was prompted to spend time giving attention. Building on the time spent on each exercise the invitation was to look slowly and differently through and with drawing.

This process used various focal explorations such as scatter vision, list making, drawing movement and sound and what is felt, drawing one site from different perspectives, and micro and macro looking.

*'No Telos' is a collaborative artistic research project for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times.

Photograph by Tracy Mackenna, The Museum of Loss and Renewal, for DRAWING INTO BEING

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The Living Drawing, Cinzia Schincariol, video (00:01:57), Drawing into Being, 2022

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The Living Drawing is a personal check-in framework I created for myself. Every day I bring in something from our walk, from our research in the landscape. I place it on the paper and I interact with it and see where components might fit with new elements. I shift things around … as a new element comes in, to recompose, adjust and move. And my body enters into it as well, as it shifts and marks and applies weight etc …. I soon realise that it is an emotional time, an emotional space for me. This was my container.

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Resilience, Grief, Drifting, Regeneration, Woods

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Emergence, Cinzia Schincariol, Drawing into Being, 2022

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There is a resistance in me. Something is asking for me not to draw in my usual way. Or the way I would expect myself to. Something is asking for my skin to get dirty, allowing for the emergence of pathways that are already embedded within me and can become visible thanks to the dirt. Everything is already there. But of course the water, the wind, the touch … time will brush the dirt away. How long these pathways would be visible for? How long would they exist for?

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Shadows of memories, video (00:01:57), Cinzia Schincariol, Drawing into Being, 2022

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A reflection of our collaborative drawing (Cinzia Schincariol and Odarley Morton Palomes) on the floor in an abandoned house in Cerreto, Filignano. Abandoned in haste … the inhabitants in search of better futures, for a better life. So much has been left behind.

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Percorsi di memoria, Cinzia Schincariol, video (00:05:48), Drawing into Being, 2022

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The film was shot in one of the places we passed through to reach a neighbouring village. The history of migration of the area has touched me so much. Especially the fact that people are returning to these places that they left. The multilingualism in the Filignano community is astounding. An exchange with a local citizen awakened sensitivity in me around my own history of migration and how I relate to my own little village and the people around me. The sounds used in the film are a combination of those of the actual film recording with additional layering from my night walks and the 'Compass Walk' excercise given to the group residents by Simon Faithfull.

“the fear of the unknown; a portal to say yes! From this point I go in. Drawing as a place, as a breath, as a moment of recuperation; of really honouring what’s there, what wants to be felt, understood, noticed and seen.
The way forward is addictive.
The oak is now the aim, as I negotiate time, space, heat, thorns and untamed grounds.
I am at the oak, arrived.
I want to cradle underneath, but the thorns and everything that is in between us question such desire;
To go back it has to be the way.
I have to back out through the portal, through the place I said yes.
Crack of open earth, channels between islands….. sentieri … pathways and more.
Chiacchere, scambi e compromessi, memorie di sole e di pioggia, di borse piene e vuote. Di andare e venire.
La compressione , il compattare, il rendere compatto, il separato e l’unito, the separate and the united.. the near and the far. “

Text written as a response to my experience of Simon Faithfull's 'Compass Walk', an exercise that he devised for the group resdients to undetake starting from Collemacchia.

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This film has been created as part of my residency 'Drawing into being' held in Collemacchia (Italy) in July 22 by The museum of Loss and Renewal. 
It has been shot in one of the places we go through to go to the next village. The history of migration of the area has touched me so much. Especially the fact that people are returning to these places after many years abroad. The multilingualism is astounding. An exchange with a local brought lots of sensitivity around my history of migration and how I relate to my own little village and the people around me. The sounds used in the film are a combination from the ones of the actual film recording with layering from my night walks and the walk from the score given by Simon Faithful. 
Deep gratitude to Anette Lundebye for helping me to film in a 38 degrees day!

“the fear of the unknown; a portal to say yes! From this point I go in. Drawing as a place, as a breath, as a moment of recuperation; of really honouring what’s there, what wants to be felt, understood, noticed and seen. 
The way forward is addictive.
The oak is now the aim, as I negotiate time, space, heat, thorns and untamed grounds.
I am at the oak, arrived. 
I want to cradle underneath, but the thorns and everything that is in between us question such desire; 
To go back it has to be the way. 
I have to back out through the portal, through the place I said yes.
Crack of open earth, channels between islands…..  sentieri … pathways and more.
Chiacchere, scambi e compromessi, memorie di sole e di pioggia, di borse piene e vuote. Di andare e venire. 
La compressione , il compattare, il rendere compatto, il separato e l’unito, the separate and the united.. the near and the far. “

Text written as a response of my experience of Simon Faithful score

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Tea making, Cinzia Schincariol, Drawing into Being, 2022

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Could it be possible that infusion is a process of drawing, of mark making?

A mark that requires continuity and repetition, a ritual, an act of reciprocity. An act of co-penetration, as I see and feel the land I take it in … literally take it in. I accept it, I let it in. I must trust what the land is giving me.

Every day walks revealed new treasures: the wild mint, the wild fennel, the plantain, the St John’s wort, the wild thyme … Harvesting felt like a process of mark making in the land. I was asking of the plants to keep me grounded, whilst I was carrying them in my pockets and while anticipating placing them in the tea pot, I was also hoping for those roots to grow within me.

And then yes there was the mugwort. At the edges, in the liminal space, the mugwort, the portal.

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My body holds secrets, Odarley Morton Palomes, acyrlic, charcoal, watercolour, guache and oil pastel on paper, 50 x 65 cms, Drawing into Being, 2022

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My body hold secrets, Odarley Morton Palomes, 2022

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Walking the old road, having new thoughts, Odarley Morton Palomes, acyrlic, charcoal, watercolour, guache on paper, 50 x 65 cms, Drawing into Being, 2022

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Walking the old road, Odarley Morton Palomes, 2022

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Day 6 Words and Contours, Odarley Morton Palomes, paper and ink 15 x 20 cms, Drawing into Being, 2022

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Day 3 After Yoga, Odarley Morton Palomes, paper and charcoal and guache, 15 x 40 cms, charcoal, Drawing into Being, 2022

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My morning partner, Cinzia Schincariol; collaborative working session in abandoned house in Cerreto, Filignano

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Residents were paired and invited to engage in a silent dialogue between themselves and the site. Prompted by David Bohm’s thoughts on how through dialogue ideas or information is not intended to be made common, rather that something in common is created or made new together. Resident-pairs, with the non-human third participant of site, worked jointly to develop modes of visual dialogues through drawing, sound, movement, and site responsive installation.

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Visual Dialogue G+A, Gemma Campbell and Anette Lundebye, graphite and pastels, 21 x 59 cms, Drawing into Being, 2022

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Abandoned house, Anette Lundebye, graphite + pastel, 42 x 29.5 cms, Drawing into Being, 2022

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Oak galls, Anette Lundebye, gouache, 21 x 29.5 cms, Drawing into Being, 2022

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Late shift in the studio. Photo of fellow residents Cinzia Schincariol and Tamsin Spargo working, by Anette Lundebye 

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Anette Lundebye is Norwegian and has lived, studied and worked internationally in Singapore, Oslo, Paris, Dijon and London, where she is now based.

Her intellectual curiosity has pushed her to venture into different fields such as art, design, futures, sustainability, business, education and coaching seeking expanded perspectives on creativity that open up new ways of perceiving and thinking.

Her creative practice explores perceptions of the fragile balance of our worlds: personal, collective, and ecological.

As a metadesign researcher her focus is on designing approaches and methods for transdisciplinary and collaborative explorations into sustainable and regenerative futures. Her work with the art collective Foreign Investment is socially engaged, developing site- specific art projects resulting in gold-exchanges, sky shares, and biodiversity loss inventories.

Drawing is at the base of her practice. Currently she is interested in exploring how drawing can be used to advance an embodied engagement with the natural world and social relations, and what drawing together as a communal ritual can lead to.

https://senseness.wordpress.com/about/

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Vignettes were created weaving daily themes, inspiring readings, and activities. Photography and pen sketches were done on site, followed by large drawings in the studio til 02:30.

Artistically, I worked with vine charcoal, pen and watercolour to create expressive drawings - realistic, abstract and with a narrative. The paper was covered with vine charcoal, mark making involved lifting off with eraser or hand and working into with mixed media. The process being intuitive and meditative, I wanted to capture the surrounding and abounding sacred beauty.

I explored themes of nature and human connections with time for reflections and creativity.

The rhythmic movement of Qigong offered by another participant each day was refreshing and coincided with swallows’ movements at sunrise. Invigoration for the body, mind and spirit provided ‘grist for the mill’.

The process of creative image-making was enhanced by walking the land and trails, exploring former homes, villages and sharing with other participants.

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Catherine Fraser, Sound Recording, made while walking near Collemacchia, Drawing into Being, 2022

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Vignette, Catherine Fraser, Drawing into Being, 2022

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‘Inanimate objects of rocks and bark becoming animate’, mixed media (vine charcoal, pencil crayon, watercolour) on paper, 18 x 24 cms

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Day 1, 04, Catherine Fraser, Drawing into Being, 2022

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Vignette, Catherine Fraser, Drawing into Being, 2022 

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‘Movement of the swallows, hiking in the hills capturing the feeling of experience’, vine charcoal on paper.

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Day 1, 03, Catherine Fraser, Drawing into Being, 2022