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I started the project with the idea  of relating my imagery to the emotional power of music, only to realise that I am still seeking     what it is I want to express in art. The aim in this instance was to create abstract images within which observers could ‘re-shape’ their interpretation on repeated viewings.
The two cropped  (found) images shown here are part of my digging around for meaning.

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26 May 2021
7 June 2021
23 June 2021 (Minefield)
All are acrylic, ink & PVA on paper
Each is 150cm x 90cm (5' x 3')

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23 June 2021
Acrylic, ink and PVA on paper
150cm x 90cm (5' x 3')

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26 June 2021
22cm  x 15 cm (9" x 6")
Acrylic, ink and PVA on paper

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4 July 2021
32cm x 22 cm (12" x 9")
Acrylic, ink and PVA on paper

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Despite (or, at least in part, possibly because of?) an obsession in the 1960’s with Tinguely, Rauschenberg, Beuys, Fluxus and the avant garde whilst otherwise engaged in genetics research, I became convinced that community activism aimed at political change was the most meaningful and necessary form of artistic engagement.

Decades of such activity latterly embraced the issue of climate change and an obsession with democratising music making and contemporary music. Over the years this has included residences within which I ran practical art sessions focused on art and music.

The COVID pandemic has given me pause for thought and I have decided to ease myself out of the most intensive aspects of my involvement in music organisation and focus on personal artistic activity, possibly as a means of thinking about how best to engage in the pressing issues that face us today.

The EDAM project has been a supportive companion during this ongoing process of change.

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Experiments with blind and intuitive drawing from remembered observations and imagination.

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Mechanical drawings produced by the magic interplay of chance and time.

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In my work I let the pen roam around the paper to create images within Images

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In my work I let the pen roam around the paper to create images within Images

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118cm x 84cm.    2021.

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59cm by 84cm.

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59cm by 84cm.

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Totem. 118cm by 84cm.      2021
Felt pen on paper

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2d to 3d, 3 sheets of a4 paper.

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The voices in my head
A1 felt pen on paper.

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Shape shifting. An artists statement.

I am a painter by trade. I came to EDAM looking for new inspiration for my painting and the classes didn’t let me down. I have many new ideas for paintings.

My drawings come from a natural lean toward automatic drawing. In the earlier drawings I am just letting the felt tip pen roam from one point to another resulting in images that are full of movement. I have taken this further and produced a sculpture from 2d drawings to 3d, shape shifting again. My later drawings are taken from small images within the automatic drawings and given a life all of their own as stand alone images.

My drawing Totem is probably the best example of the illusion of movement within these drawings, with a fleshy shimmering feel. The best example I feel of the later images is the pony and rider, both images being taken from my automatic drawings.

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Charcoal on paper, 59 x 126cm

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charcoal on paper 160x80cm

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Frottage, collage, charcoal, ink, oil paint.
68cm x 57cm.

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Charcoal, ink, collage and oil paint (second half of above work).
60cm x 57cm.

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Dandelion pulp, paper cut-outs, graphite. 42cm x 29cm.

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Graphite, charcoal, ink, watercolour, oil pastel.
41cm x 29cm.

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charcoal on paper 160x80cm

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chris@shurety.studio

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‘If I can’t be sure of the actual events … I can at least be true to the impressions those facts left’. Julian Barnes, Sense of Endings.

I have a bad memory – or actually that’s what I thought.

Where does memory reside? Is it in the mind, the body or a system? How can drawing become remembering?

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2021, Conte crayon and ink on paper, 38 cm x 27 cm.

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2021, monoprint from wax paper printing plate on paper (detail), 79 cm x 27 cm.

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2021, monoprint from take out box printing plate on paper, 23 cm x 63 cm.

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2021,  monoprint from and on greaseproof paper (detail),  38 cm x 10 m.

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This project is an exploration and an act of memory looking at how the making of a drawing process can be a means to remember, consequently shaping our minds. Research into the physical anatomy of memory was done in parallel to developing drawings through experimentation with different monoprint printing plates from recycled material.

Through printing anatomical drawings, I learnt (and now remember), some physiology of the body. While drawing, I listened to the book Livewired by the neuroscientist David Eagleman which in turn shaped the work. Research into the 1906 Nobel laureate for neurology, Santiago Ramon y Cajal, found that his skills in drawing and printing making made art and science inseparable and complimentary paradigms of understanding.

In  recalling a past event we are simply remembering the last time we accessed this memory. Similarly, in Gyrus, the greaseproof paper was both matrix and print in a reciprocal relationship of endless impressions. These memory marks became fluid. Like the brain, the paper grew, folded and changed shaped while learning through making marks. The scroll created its own implicit individual narrative. Our seemingly fallible memories shape the story of who we are.

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dara@darigdesign.com

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This series of Fan Drawings are drawn with a piece of charcoal or graphite attached via devices to a ceiling fan.  They relate to the idea of time, space, movement, and psychic journeys.  Also meaning of mark making, and the sensitivity of blind contour drawing.

In both drawing and painting, I try to remove unnecessary detail – paring back in order to clarify and connect with the power of either colour or line. Preferring the immediacy and freshness of mark-making, I play with mechanics, the implication of performance and the element of chance.

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As the weeds in the garden around my studio grew and grew throughout the rainy days of May, and a family of foxes moved in, a slightly unnerving sense of the encroaching wilderness, perhaps echoing my feelings about living through a pandemic, mingled with a sense of wanting to learn to accept all this as it is.

I’ve been experimenting with trusting my subconscious to come up with images, via blind drawing, on a larger scale. By relaxing and giving space and attention to the changing landscapes inside and outside, I work with the lines and images that come up and out through my hand as I tentatively nudge my work forward, letting the abstracted interpretations of my thoughts and observations have their say.

Wild dandelions caught my attention on walks (and through the cracks in my paving) and I noticed their shapeshifting forms. As they were not in short supply, I harvested a bagfull of their flower heads on a walk through the Kentish countryside one day. Then I roasted, boiled, pulped and mixed them with glue, before pasting this crude ochre-like pigment onto paper that I cut up into shapes for the collage.

I tried to interpret the seedheads they form using ink and water dripped onto graphite powder rolled over watercolour washes, or with frottages from the woodchip wallpaper in my hallway. This created dots that I cut into basic circles. I also frottaged dandelions with a carbon stick to create the pillar - or portal - behind the large painted seedhead.

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dianajevans1@gmail.com
Instagram: @dianaj_evans

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This work represents a stage in as yet unfinished journeys. In caring for a loved one with an eating disorder on hearing the term shape shifting, I thought of the female body and the expectations to conform to a shape deemed suitable by society.

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2021
Ink, gesso, pastel and charcoal on Fabriano paper
99cm X 95cm

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2021
Graphite, ink and gouache on Dura lar
35.6cm X 43.2cm

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2021
Graphite, ink and gouache on Dura lar
35.6cm X 43.2cm

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2021
Graphite, ink and gouache on Dura lar
35.6cm X 43.2cm

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I looked for mythological shape shifters and found the fox. According to Japanese folklore, ‘Kitsune’ can take human form, are said to be spirit messengers and in this role, gain up to 9 tails with age and wisdom. I wanted to celebrate change in women as a natural process and also as a sign of not just age but wisdom.

I started drawing Eliana. Her hair is fox red and my drawing was intended as a celebration of the body, carving the curves with ink and pastel, painting gesso in and drawing the shape back out again; the body changing and evolving.

The foxy wallpaper was created as a backdrop to the portraits of my nan, my mum and I at 49 to reference Kitsune. The portraits are first attempts; quick, rough and imperfect on an unfamiliar ground of Duralar. Unfinished works at 49.

The process of supporting my loved one has forced me to re-evaluate my attitude to my own body and I hoped to be brave enough to model for my own life drawing but I am not there yet. The process of acceptance is a long one and I am a work in progress, as are the works I have submitted.

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My interest is in evoking interior spaces in a way that places the viewer in that space.

I begin by taking photographs, making notes, frottage and drawings in situ. I am now trialing ways of presenting this material in concertina books.

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Frottage in charcoal on newsprint 750 x 505mm

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Charcoal and pastel on cartridge paper 420 x 296mm

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Pencil on cartridge paper A5 sketchbook

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White & black compressed charcoal on coloured pastel paper 305 x 229mm

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Communal lift and stairs at Pullman Court, Streatham

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Communal lift and stairs at Pullman Court, Streatham

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Mobile phone image

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hello@leahrice.co.uk
Instagram: @leahriceart

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I No Longer Know if I Wish to Drown Myself in Your Love 

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I No Longer Know if I Wish to Drown Myself in Your Love 

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2021 (Unfinished)
Collage. Acrylic, plaster and paper on canvas
50cm x 50cm

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I No Longer Know if I Want to Drown in a Sea of Your Love

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Right cheek / jowl

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2021. Collage, paper on paper
42cm x 59xcm

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Look Into My Eyes Then Tell Me I am Nuts

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Look Into My Eyes Then Tell Me I am Nuts

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2021. (Unfinished)
Collage, paper on paper
42cm x 59cm

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2021. Collage. Leather, organic ink on paper   55cm x 55cm

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Collage has always been my preferred medium. There’s a playfulness, a mischief, challenging perceptions of reality, toying with the ambiguity of shape and form. There's delight, too, in creating the surprise of repurposed images hiding within other images, jolting the brain awake.

My work rarely features purpose-bought materials. I’m a magpie, perpetually in collection mode. My studio is crammed with books, magazines, journals, comics and an extensive fabric library. Like a schoolboy, I cram my pockets with found treasures, which I squirrel away for years.

There’s a real reverie, a flow, revisiting these materials, sifting through my collection, collating old images into new shapes and giving them a new form.

Outcomes can never be planned. The pairings are, by definition, serendipitous. Oddly, I can recall the forms, colour and textures of my collection, often for years but I’m partially face blind so struggle to recognise facial features. That maybe explains my fascination with creating collage of human faces.

I’m always thrilled when people spot the hidden details in my work. The brain is drawn to decode images, it’s a survival instinct. When we see something and decode it one way, then realise it’s not what it seems, it can be as discomforting as it is delightful. I want people to walk away with a sense of intrigue, the realisation that the images have layer upon layer of hidden meaning, inviting metaphor, questions, commentary. As in life, when you pause and zoom in, things are rarely what they seem at first glance.

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I'm interested in what's seen and unseen, movement and stillness, spirit and body, shadow and Self, layers of the human experience.

This project was driven from the live drawing classes with Heidi Wigmore, capturing the movement of performative dancers.

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Watercolour pencil on sugar paper A3

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Charcoal pencil on paper A3

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Charcoal, pencil and fine pen on newsprint paper A4

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Watercolour, coffee wash and watercolour pencil on paper A2

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Watercolour and watercolour pencil on paper A3

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Watercolour, watercolour pencil on paper (28 cm x 39 cm)

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EDAM classes offered me the opportunity to experiment with new materials and techniques. The live drawing classes have revived my passion for human figure drawing. My drawings are from live models observed on online classes and from videos of dance performances.

I particularly enjoy exploring how the figure relates to the marks of the movement, whether these become a felt sense of something else, an extension of the figure, an integral part of it, or separate from it altogether. I found that drawing movement gets me into a place of active imagination (C. Jung) that connects with the dancer in me, and taps into my unconscious.

At an initial stage, I enjoyed the process of absorbing the movement and then taking rest in one posture and focusing on it with all its integrity. I’d let myself immerse in the dance I observed, and I’d feel compelled to focus on a specific pose. At a later stage, I’ve worked from sketches of initial drawings, with the view to amplify their meaning.

As a psychotherapist, I am interested in aspects of duality and integration inherent to human experience. Each drawing brought me closer to my understanding of different parts of myself.

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catyvas@gmail.com
Instagram: @dancing_with_the_unconscious

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pippa@pippapalmer.co.uk
Instagram: @pippa.palmer

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On EDAM I have encountered and experimented with different media and techniques. Frottage, collage and artists books recalled childhood play, making rubbings, cutting and sticking and making little books. I am looking for ways to meld this experimentation with my existing ways of working, drawing and painting in situ.

I am intrigued by the transitory nature of staircases, the tactile quality of handrails, the rhythm of elements re-encountered as the stair is used and the views form landings and into the stairwell.

For the final project I have studied three very different staircases:
- A communal lift and stair core by Frederick Gibberd in a 1930s Modernist housing block in Streatham, South London
- A Georgian staircase in a much older house, my Father's home, in the Cinque Port of Sandwich Kent
- City Lit's yellow stair, particularly views from the third-floor landing, my arrival point for the EDAM class

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Welcome to the City Lit end of year exhibition by students on the Extended Drawing for Artists and Makers course 2020-2021.

This one-year course was made up of two groups – a day group and an evening group. Owing to Covid, much of this has taken place online for the day group, all of it for the evening group. Despite these disruptions - or perhaps because of them - the students have had to dig deep again this year, to mine the resources and ideas that have been available to them under pandemic circumstances. While some have missed the classroom studio environment in this churn, some students from well outside London have been able to enjoy classes as lessons went online.

We’d like to thank our tutors for their time, patience and resourcefulness as they too have had to adapt and teach us through another year of ever-changing circumstances. We appreciate having this access to such an uplifting course despite all the challenges the pandemic has thrown up for us all.

We hope you enjoy the show!

EDAM Students
13 July 2021

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Details for next year's course
Both courses will take place in the studio at City Lit

Daytime

VH835 Extended drawing for artists and makers

Dates: 13/10/21 - 22/06/22
Time: 10:30 - 16:30

Evening
Vh796 Extended drawing for artists and makers

Dates: 13/10/21 - 22/06/22
Time: 18:00 - 21:00