Exhibition: What is Drawing Research?
To accompany our Symposium at Birmingham School of Art in November 2023, we presented an exhibition of work exploring the theme, What is Drawing Research?
The exhibition was opened by Deborah Kermode, Chief Executive and Artistic Director Midlands Art Centre (MAC).
The exhibition was opened by Deborah Kermode, Chief Executive and Artistic Director Midlands Art Centre (MAC).
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Exploring Drawing as a Tool for Research This exhibition, curated by the UWE BCU Drawing Research Group, serves as an introduction and testament to the evolving significance of drawing as a cross-disciplinary tool for research, communication and ideation. We aim to challenge established perceptions of Drawing while emphasising its role in fostering innovation, visual thinking and knowledge advancement. A central theme of the exhibition is 'Working Drawings', the foundational sketches that underpin many disciplines. These sketches make visible the invisible, rendering abstract concepts into tangible forms. They are the blueprints of innovation, serving as a medium to convey ideas and concepts, and often capable of conveying the inexpressible. Drawing has increasingly evolved to intersect with various fields. including medicine, engineering, construction, health, design, and architecture and functions as a universal language bridging the gap between artistic and non-artistic practices. This collection of work aims to showcase examples of Drawing research from Artist researchers side by side with working drawings from outside the traditional notion of the artist researcher/practitioner, and offers a preliminary glimpse into the multidisciplinary use of drawing, and the exploration of drawing's role in practice, research and society as a whole. |
Photos by Ronan Grayson and DRG
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'What is Drawing Research?' represents the start of a dialogue that transcends disciplinary borders and conventional notions of drawing. We encourage active participation in the ongoing conversation and offer an opportunity to challenge established ideas, encouraging ‘artist’ and ‘non artist’ to explore the potential of drawing as a research tool.
This exhibition and Symposium will also form part of the research for a publication, ‘The Bloomsbury Handbook of Drawing Research’ promoting inclusivity and diversity and inviting non-academic partners and stakeholders to join in the dialogue.
This exhibition and Symposium will also form part of the research for a publication, ‘The Bloomsbury Handbook of Drawing Research’ promoting inclusivity and diversity and inviting non-academic partners and stakeholders to join in the dialogue.
Exhibitors
Emily Lucas and Nick Grellier (both laughing) Collaborative
bothlaughingcollaborative.com
@both_laughing
Artist duo Emily Lucas and Nick Grellier’s (both laughing) Collaborative work is grounded in drawing practice and rich research that explores, discovers, invents, solves problems and cracks jokes. We make artwork using low value, low fi materials and objects from around the home, including baby wipes, stencils, felt tip pens and printing stamps, in order to tackle the problem of emotion versus seriousness and other hierarchies both in the art world and wider society. Our remit is to generate new ways to talk, write and think about drawing and other art practices. The work is both playful and serious, celebrating difficulties and achievements. Together, we have begun to develop our own manifesto for drawing as a way to embrace mistakes, test out new ideas and acknowledge non-binary viewpoints and grey areas, giving value to the overlooked.
bothlaughingcollaborative.com
@both_laughing
Artist duo Emily Lucas and Nick Grellier’s (both laughing) Collaborative work is grounded in drawing practice and rich research that explores, discovers, invents, solves problems and cracks jokes. We make artwork using low value, low fi materials and objects from around the home, including baby wipes, stencils, felt tip pens and printing stamps, in order to tackle the problem of emotion versus seriousness and other hierarchies both in the art world and wider society. Our remit is to generate new ways to talk, write and think about drawing and other art practices. The work is both playful and serious, celebrating difficulties and achievements. Together, we have begun to develop our own manifesto for drawing as a way to embrace mistakes, test out new ideas and acknowledge non-binary viewpoints and grey areas, giving value to the overlooked.
Jo Berry (Frith)
joberry.co.uk
@j.berry07
Bioimaging experiments are carried out in discrete labs, and artists are rarely granted access. They are an underused resource for artists and designers. She demonstrates how an artist can contribute to art-science initiatives in advanced imaging and microscopy labs by responding innovatively to current circumstances in bioimaging by thinking about scientific and artistic interdisciplinary practise in a “playful” way. She established a case-study review based on three scientific research institutions in the United Kingdom and Sweden to test play as a disruptive concept. The graphic drawings presented are inspired by a collaboration with the Core Research Laboratories Imaging and Analysis Centre, Natural History Museum, London.
She exhibits internationally, with pieces in the Victoria & Albert Museum, Arts Council England (ACE) East Midland Collections, Nottingham University Medical School, and Zeiss, Munich, Germany. Residencies: Florence Trust Studios, London; Lakeside Arts Centre, Nottingham University. Exhibitions: Coningsby Gallery, London (2023); Ars Electronica—Virtual Garden (2020); SCANDEM, Nordic Imaging Society (2019), Gothenburg, Sweden; Biofilms, Research Centre for Bio Interfaces (2018), Malmo University, Sweden; Centre of Membrane Proteins and Receptors (COMPARE) (2018), Queen’s Medical Centre, Nottingham; Decriminalising Ornament, Ruskin Gallery (2018), Anglia Ruskin University, Cambridge; Centre of Membrane Proteins and Receptors (COMPARE) Compare, Conference (2017), Nottingham.
joberry.co.uk
@j.berry07
Bioimaging experiments are carried out in discrete labs, and artists are rarely granted access. They are an underused resource for artists and designers. She demonstrates how an artist can contribute to art-science initiatives in advanced imaging and microscopy labs by responding innovatively to current circumstances in bioimaging by thinking about scientific and artistic interdisciplinary practise in a “playful” way. She established a case-study review based on three scientific research institutions in the United Kingdom and Sweden to test play as a disruptive concept. The graphic drawings presented are inspired by a collaboration with the Core Research Laboratories Imaging and Analysis Centre, Natural History Museum, London.
She exhibits internationally, with pieces in the Victoria & Albert Museum, Arts Council England (ACE) East Midland Collections, Nottingham University Medical School, and Zeiss, Munich, Germany. Residencies: Florence Trust Studios, London; Lakeside Arts Centre, Nottingham University. Exhibitions: Coningsby Gallery, London (2023); Ars Electronica—Virtual Garden (2020); SCANDEM, Nordic Imaging Society (2019), Gothenburg, Sweden; Biofilms, Research Centre for Bio Interfaces (2018), Malmo University, Sweden; Centre of Membrane Proteins and Receptors (COMPARE) (2018), Queen’s Medical Centre, Nottingham; Decriminalising Ornament, Ruskin Gallery (2018), Anglia Ruskin University, Cambridge; Centre of Membrane Proteins and Receptors (COMPARE) Compare, Conference (2017), Nottingham.
Jo Newman
jonewman.me
I am a full time lecture and course leader at BCU, managing a Foundation course that I believe is still the most transformative year of a students creative academic life. I am dedicated to empowering students with confidence, skills, courage and curiosity. My motivation as a teacher comes from my creative, interdisciplinary background in costume, my personal experience as an MA student at Margaret Street and the freedom to make, develop and play within an academic environment. Drawing is at the core of my work and teaching.
jonewman.me
I am a full time lecture and course leader at BCU, managing a Foundation course that I believe is still the most transformative year of a students creative academic life. I am dedicated to empowering students with confidence, skills, courage and curiosity. My motivation as a teacher comes from my creative, interdisciplinary background in costume, my personal experience as an MA student at Margaret Street and the freedom to make, develop and play within an academic environment. Drawing is at the core of my work and teaching.
Carla Swerts
carlaswerts.com
Carla Swerts (1992) is an artist based in Brussels, Belgium. She obtained a practice-based PhD in the Arts from Hasselt University in 2017. In her PhD research she investigated how sensory observation can be used as a foundation to complement and nuance the western view on the Middle East. Her interest in this region grew when she was working there as an archaeological illustrator. Her PhD dissertation Woestijngetijden (published by MER. Paper Kunsthalle) was awarded with the Flemish cultural prize for young talent in 2018. In this publication she connects her own drawings and writings with fragments of literature and art history, scientific drawings and photographs, creating an associative network in which times and places collide.
Swerts is currently working as a postdoctoral researcher at PXL-MAD in Hasselt. Swerts also teaches in the Illustration departments of LUCA School of Arts in Ghent and PXL-MAD in Hasselt. Previous employers were Hasselt University and KASK School of Arts Ghent. Occasionally she works as an archaeological illustrator for universities and museums (KULeuven, Royal Museums of Art and History Brussels, Musée des Confluences Lyon, Rijksmuseum van Oudheden Leiden…).
carlaswerts.com
Carla Swerts (1992) is an artist based in Brussels, Belgium. She obtained a practice-based PhD in the Arts from Hasselt University in 2017. In her PhD research she investigated how sensory observation can be used as a foundation to complement and nuance the western view on the Middle East. Her interest in this region grew when she was working there as an archaeological illustrator. Her PhD dissertation Woestijngetijden (published by MER. Paper Kunsthalle) was awarded with the Flemish cultural prize for young talent in 2018. In this publication she connects her own drawings and writings with fragments of literature and art history, scientific drawings and photographs, creating an associative network in which times and places collide.
Swerts is currently working as a postdoctoral researcher at PXL-MAD in Hasselt. Swerts also teaches in the Illustration departments of LUCA School of Arts in Ghent and PXL-MAD in Hasselt. Previous employers were Hasselt University and KASK School of Arts Ghent. Occasionally she works as an archaeological illustrator for universities and museums (KULeuven, Royal Museums of Art and History Brussels, Musée des Confluences Lyon, Rijksmuseum van Oudheden Leiden…).
Ella Emanuele
In collaboration with data visualisation expert David Hunter from University of Colorado at Boulder, and Zach Duer from Virginia Tech
@ellaemanuele_
www.rossellaemanuele.com
Ella Emanuele is an artist, a researcher and the course leader of the BA(Hons) Drawing at Falmouth University. Her practice explores dance and choreography as generative modalities for contemporary drawing. Negotiating relationships between body, site, time and event, the work investigates how the agency of dance moves from the performative to the visual via technological means. The act of drawing is interpreted as a choreographic activity where the line acts as a point of departure for bodily gesture and a score to respond to. Central to the work is the interplay between dance, drawing, and time-based media. This approach has evolved to include collaborative and participatory approaches, where the resulting installations, films, drawing and/or performances are brought into being as a result of the context they are in.
Solo and group exhibitions, some of which lead up to publications have taken place in the UK, Italy, France, Germany, Azerbaijan, China and America. Significant projects include collaborations with artists, dancers, choreographers and data visualisations designers. The most recent include:
Tenth: Art, Language, Location, at Quip&Curiosity, Cambridge 2023.
Organic Creative Spaces Exhibition for Creativity and Cognition, University of Chicago, 2023.
Drawing in Relation Online Exhibition curated by Arno Kramer with the Drawing Research Group at Loughborough University, 2023.
I4 Residency, Virginia Tech Residency for Improvisation, Inspiration, Incubation, and Immersion at the Institute for Creativity, Arts, and Technology, Blacksburg, Virginia, USA, 2022.
dAnCing LiNes solo exhibition at the James Hockey Gallery, Farnham Surrey; upcoming in November 2023
In collaboration with data visualisation expert David Hunter from University of Colorado at Boulder, and Zach Duer from Virginia Tech
@ellaemanuele_
www.rossellaemanuele.com
Ella Emanuele is an artist, a researcher and the course leader of the BA(Hons) Drawing at Falmouth University. Her practice explores dance and choreography as generative modalities for contemporary drawing. Negotiating relationships between body, site, time and event, the work investigates how the agency of dance moves from the performative to the visual via technological means. The act of drawing is interpreted as a choreographic activity where the line acts as a point of departure for bodily gesture and a score to respond to. Central to the work is the interplay between dance, drawing, and time-based media. This approach has evolved to include collaborative and participatory approaches, where the resulting installations, films, drawing and/or performances are brought into being as a result of the context they are in.
Solo and group exhibitions, some of which lead up to publications have taken place in the UK, Italy, France, Germany, Azerbaijan, China and America. Significant projects include collaborations with artists, dancers, choreographers and data visualisations designers. The most recent include:
Tenth: Art, Language, Location, at Quip&Curiosity, Cambridge 2023.
Organic Creative Spaces Exhibition for Creativity and Cognition, University of Chicago, 2023.
Drawing in Relation Online Exhibition curated by Arno Kramer with the Drawing Research Group at Loughborough University, 2023.
I4 Residency, Virginia Tech Residency for Improvisation, Inspiration, Incubation, and Immersion at the Institute for Creativity, Arts, and Technology, Blacksburg, Virginia, USA, 2022.
dAnCing LiNes solo exhibition at the James Hockey Gallery, Farnham Surrey; upcoming in November 2023
Simon Twose and Anastasia Globa
Simon Twose’s work focuses on drawing, particularly in territories between art and architecture practices. He researches through creative works, which have transitioned from traditional architectural drawing and built projects to spatio-temporal drawing installations. Twose is an architect and associate professor at the School of Architecture, Te Herenga Waka | Victoria University of Wellington.
Anastasia Globa is a researcher, academic and designer working in the field of architecture, with strong research interests in algorithmic design, advanced manufacturing, simulations, data visualization, real-time interactive applications, and immersive environments. Anastasia is a Senior Lecturer at Sydney University.
Simon Twose’s work focuses on drawing, particularly in territories between art and architecture practices. He researches through creative works, which have transitioned from traditional architectural drawing and built projects to spatio-temporal drawing installations. Twose is an architect and associate professor at the School of Architecture, Te Herenga Waka | Victoria University of Wellington.
Anastasia Globa is a researcher, academic and designer working in the field of architecture, with strong research interests in algorithmic design, advanced manufacturing, simulations, data visualization, real-time interactive applications, and immersive environments. Anastasia is a Senior Lecturer at Sydney University.
Tim Edgar
@tim_edgar_art
@foundtext
Tim Edgar is an Artist and Academic based in Dorset. He is an experienced lecturer, and has worked at all levels in a variety of institutions, most recently as Head of School for Preparation for Higher Education at Arts University Bournemouth, and contextual studies lecturer for BA Commercial Photography.
His drawing practice stands at the overlap between Art, Maths and Science. Using a variety of analogue media his intense, detailed works explore connections between micro and macro worlds, in particular the cellular and the cosmic.
He has also been collecting discarded notes, lists, letters, post its and drawings for over 30 years under the handle @foundtext. His archive contains over 2000 items from the absurd to the profound. He is interested in the sculptural and aesthetic form of the finds as much as the content.
@tim_edgar_art
@foundtext
Tim Edgar is an Artist and Academic based in Dorset. He is an experienced lecturer, and has worked at all levels in a variety of institutions, most recently as Head of School for Preparation for Higher Education at Arts University Bournemouth, and contextual studies lecturer for BA Commercial Photography.
His drawing practice stands at the overlap between Art, Maths and Science. Using a variety of analogue media his intense, detailed works explore connections between micro and macro worlds, in particular the cellular and the cosmic.
He has also been collecting discarded notes, lists, letters, post its and drawings for over 30 years under the handle @foundtext. His archive contains over 2000 items from the absurd to the profound. He is interested in the sculptural and aesthetic form of the finds as much as the content.
Ben Goodman
bengoodman.co.uk
@bengoodman_uk
British artist and printmaker, Ben Goodman, is best known for his use of traditional wood engraving to create intricate and powerful portraits. Blending oil painting and printmaking techniques, he uses engraving to build up multi-layered prints which resemble miniature paintings. The result is a unique style and approach, which creates subtle, textured and intimate contemporary prints.
His work is inspired by the beauty and nuance of the human form and its variety of shape, colour, and texture. He takes influence from 500 years of European painting and printmaking. From the renaissance masters, to contemporary printmakers and painters.
Goodman’s work has been widely exhibited throughout the UK and internationally, and his prints are held in various National Collections, including the V&A (UK), MMU (UK), CAFA (China) and HMP (China). He is one of the youngest of his generation to become an elected member of The Society of Wood Engravers, and in 2023 was awarded the prestigious Rachel Reckitt Prize. He is a Senior Technician at UWE (Bristol) where he teaches engraving and relief printmaking.
bengoodman.co.uk
@bengoodman_uk
British artist and printmaker, Ben Goodman, is best known for his use of traditional wood engraving to create intricate and powerful portraits. Blending oil painting and printmaking techniques, he uses engraving to build up multi-layered prints which resemble miniature paintings. The result is a unique style and approach, which creates subtle, textured and intimate contemporary prints.
His work is inspired by the beauty and nuance of the human form and its variety of shape, colour, and texture. He takes influence from 500 years of European painting and printmaking. From the renaissance masters, to contemporary printmakers and painters.
Goodman’s work has been widely exhibited throughout the UK and internationally, and his prints are held in various National Collections, including the V&A (UK), MMU (UK), CAFA (China) and HMP (China). He is one of the youngest of his generation to become an elected member of The Society of Wood Engravers, and in 2023 was awarded the prestigious Rachel Reckitt Prize. He is a Senior Technician at UWE (Bristol) where he teaches engraving and relief printmaking.
Donald Albert Embury, 'The Scribe'
Don, also known as ‘The Scribe’, was born in Birmingham in 1934. He was apprenticed to the Solicitors Law Stationary Society Limited in 1950 as a copper Plate engraver and calligrapher at a time when all legal documents were written by hand using a dip pen and ink.
In later life he worked as a Freelance engraver, and calligrapher producing numerous Illuminated manuscripts and engraved artefacts for clients including The Royal Family, and Government of the day.
He continued working as a Freelance Calligrapher in Birmingham up until his death in 2021 at the age of 87.
Don, also known as ‘The Scribe’, was born in Birmingham in 1934. He was apprenticed to the Solicitors Law Stationary Society Limited in 1950 as a copper Plate engraver and calligrapher at a time when all legal documents were written by hand using a dip pen and ink.
In later life he worked as a Freelance engraver, and calligrapher producing numerous Illuminated manuscripts and engraved artefacts for clients including The Royal Family, and Government of the day.
He continued working as a Freelance Calligrapher in Birmingham up until his death in 2021 at the age of 87.
Gareth Courage
Graphic artist practitioner and lecturer.
Graphic artist practitioner and lecturer.
Chelsea and Westminster Hospital CW+ 'Drawn 2' Residency
@cwpluscharity
A collection of work which came out of the Drawing Research Group's residency at Chelsea and Westminster Hospital in 2021 as part of 'Drawn 2'. The group produced a number of reportage drawings of life at the hospital during Covid and also a number of drawings which were produced by staff in Drawing Workshops designed and run by the Drawing Research Group. The collection also includes work by other healthcare professionals who use Drawing as part of their practice. The work was exhibited at Saatchi Gallery as part of an exhibition 'The Healing Arts' at the end of 2021
@cwpluscharity
A collection of work which came out of the Drawing Research Group's residency at Chelsea and Westminster Hospital in 2021 as part of 'Drawn 2'. The group produced a number of reportage drawings of life at the hospital during Covid and also a number of drawings which were produced by staff in Drawing Workshops designed and run by the Drawing Research Group. The collection also includes work by other healthcare professionals who use Drawing as part of their practice. The work was exhibited at Saatchi Gallery as part of an exhibition 'The Healing Arts' at the end of 2021
Kelly Cumberland
kellycumberland.art
@kelly_cumberland
Kelly Cumberland is an artist and currently a PhD practice-led researcher at the University of Leeds. Her PhD research aims to contribute and build upon the discussion around expanded drawing practice, exploring how drawing itself might reimagine raw medical scientific data. An on-going dialogue with neuroscientists at St. James's Hospital, Leeds incorporates a range of media, outputs, and artistic non-standard visualisations. Exploring commonalities of process, between modes of drawing, sculpture and laboratory practices, this research is a practice-based investigation of stem cells, molecules, organoids/assembloids and cell fate.
She is also an academic and has acquired an extensive portfolio of teaching experience both at undergraduate and postgraduate level and has been lecturing since 2001.
Exhibiting nationally and internationally, recent exhibitions include ‘What Is This Thing Called Material Research?’ University of Leeds, 2023; ‘Vestigium Pulvis’, Leeds Arts University, 2022; ‘Cuits [fenestram],’ Mercado Negro, Cholula, Mexico 2021; ‘Tracing Entropy,’ Forum Gallery, School of Design, University of Leeds 2020; ‘Biomorfica,’ Galeria Liliput, Puebla, Mexico 2019; Vision of Science Art Award, The Edge Gallery, Bath, 2018-2020; ‘Manual,’ ABA ART LAB, La Nit de l’Art International Programme, Palma de Mallorca 2013/2016.
kellycumberland.art
@kelly_cumberland
Kelly Cumberland is an artist and currently a PhD practice-led researcher at the University of Leeds. Her PhD research aims to contribute and build upon the discussion around expanded drawing practice, exploring how drawing itself might reimagine raw medical scientific data. An on-going dialogue with neuroscientists at St. James's Hospital, Leeds incorporates a range of media, outputs, and artistic non-standard visualisations. Exploring commonalities of process, between modes of drawing, sculpture and laboratory practices, this research is a practice-based investigation of stem cells, molecules, organoids/assembloids and cell fate.
She is also an academic and has acquired an extensive portfolio of teaching experience both at undergraduate and postgraduate level and has been lecturing since 2001.
Exhibiting nationally and internationally, recent exhibitions include ‘What Is This Thing Called Material Research?’ University of Leeds, 2023; ‘Vestigium Pulvis’, Leeds Arts University, 2022; ‘Cuits [fenestram],’ Mercado Negro, Cholula, Mexico 2021; ‘Tracing Entropy,’ Forum Gallery, School of Design, University of Leeds 2020; ‘Biomorfica,’ Galeria Liliput, Puebla, Mexico 2019; Vision of Science Art Award, The Edge Gallery, Bath, 2018-2020; ‘Manual,’ ABA ART LAB, La Nit de l’Art International Programme, Palma de Mallorca 2013/2016.
Dr. Robert Luzar
robertluzar.com
Robert Luzar is an artist, writer, and educator. He was born in Slovenia, and lived in Canada before moving to England. He holds a PhD from Central Saint Martins. His works engage with notions of ‘event’ and ‘trace’ through forms of change, thought, theories of the point, and the common body in ‘precarious’ forms of existence; using drawing experimentally with live-art performance, video, Internet, and space. He exhibits globally in live-art events, museums and galleries, such as Palazzo Loredan Venice (IT), Torrance Art Museum (USA), Talbot Rice Gallery (UK), DRAWinternational (FR), Katzman Contemporary (CA), Künstlerhaus Dortmund (DE), and CUMT Institute (China). His writings on art, culture and philosophy are published in books and journals such as Nancy and Visual Culture (Edinburgh University Press 2016), Theatre and Performance Design (Routledge 2017), and Drawing: Research, Theory, Practice (Intellect 2019).
robertluzar.com
Robert Luzar is an artist, writer, and educator. He was born in Slovenia, and lived in Canada before moving to England. He holds a PhD from Central Saint Martins. His works engage with notions of ‘event’ and ‘trace’ through forms of change, thought, theories of the point, and the common body in ‘precarious’ forms of existence; using drawing experimentally with live-art performance, video, Internet, and space. He exhibits globally in live-art events, museums and galleries, such as Palazzo Loredan Venice (IT), Torrance Art Museum (USA), Talbot Rice Gallery (UK), DRAWinternational (FR), Katzman Contemporary (CA), Künstlerhaus Dortmund (DE), and CUMT Institute (China). His writings on art, culture and philosophy are published in books and journals such as Nancy and Visual Culture (Edinburgh University Press 2016), Theatre and Performance Design (Routledge 2017), and Drawing: Research, Theory, Practice (Intellect 2019).
Verity Winslow
cfpr.uwe.ac.uk
Verity Winslow is a PhD student at the Centre for Fine Print Research within the University of the West of England. Her research investigates the potentials afforded to artists and designers by new robotic technologies.
Her research brings together ideas from Computational Creativity, Artificial Intelligence (AI), Robotics, Cybernetics, Theoretical Philosophy, Cognitive Science and Neuroscience. Her study investigates creativity in machines through the development of drawing robots.
cfpr.uwe.ac.uk
Verity Winslow is a PhD student at the Centre for Fine Print Research within the University of the West of England. Her research investigates the potentials afforded to artists and designers by new robotic technologies.
Her research brings together ideas from Computational Creativity, Artificial Intelligence (AI), Robotics, Cybernetics, Theoretical Philosophy, Cognitive Science and Neuroscience. Her study investigates creativity in machines through the development of drawing robots.
Pedro Alegria
pedroalegria.pt
tubafrom.com
@tubafrom
Graduate and master in Engineering, Computers and Robotics from FEUP and master in Environmental Engineering from UA. Works in Porto. Graduated and PhD from the Faculty of Fine Arts of the University of Porto (FBAUP). Researcher at I2ADS (FBAUP research institute). Teacher of drawing at FBAUP of human figure drawings.
This path in engineering begins with computers, goes through robotics and mathematics; continues in the area of environment and hydraulics and continues in construction engineering. At the same time, he dives into fine arts, with a Degree in Fine Arts at FBAUP and a PhD on the subject of algorithmic drawing. Since 2022 he has been a teacher of human figure drawing (live model and anatomy) at FBAUP in the Fine Arts and Drawing degrees.
Since 2015, he has participated in individual and group exhibitions.
Porto, 1968.
pedroalegria.pt
tubafrom.com
@tubafrom
Graduate and master in Engineering, Computers and Robotics from FEUP and master in Environmental Engineering from UA. Works in Porto. Graduated and PhD from the Faculty of Fine Arts of the University of Porto (FBAUP). Researcher at I2ADS (FBAUP research institute). Teacher of drawing at FBAUP of human figure drawings.
This path in engineering begins with computers, goes through robotics and mathematics; continues in the area of environment and hydraulics and continues in construction engineering. At the same time, he dives into fine arts, with a Degree in Fine Arts at FBAUP and a PhD on the subject of algorithmic drawing. Since 2022 he has been a teacher of human figure drawing (live model and anatomy) at FBAUP in the Fine Arts and Drawing degrees.
Since 2015, he has participated in individual and group exhibitions.
Porto, 1968.
Hannah
(Jaskirt Dhaliwal-Boora)
jaskirtdhaliwalboora.com
This drawing was made by Hannah during a workshop at women's refuge Birmingham Crisis Centre in 2023. The workshops Hannah took part in were exploring how women heal from trauma, and contributed towards a personal zine she made on her life in refuge. The workshops were led by artist and activist Jaskirt Dhaliwal-Boora for her new research project and films 'Healing From Trauma'. The workshops culminated in an exhibition at the refuge of photographs and text the women created from photo walks and workshops.
Jaskirt Dhaliwal-Boora (b.1985, Birmingham) is an award-winning multi-disciplinary artist whose work focuses on a socially engaged practice, working with local communities to empower and give voice to marginalised groups. She is interested in celebrating untold stories while exploring visual representations of gender, ethnicity and place.
Dhaliwal-Boora’s work has been exhibited nationally and internationally, including at Wembley Stadium, UN Headquarters New York, New Art Exchange Nottingham, Birmingham 2022 Commonwealth Games and Manchester’s People Museum. She has won numerous prizes, including the British Journal of Photography’s Portrait of Britain award in 2022 and 2023.
(Jaskirt Dhaliwal-Boora)
jaskirtdhaliwalboora.com
This drawing was made by Hannah during a workshop at women's refuge Birmingham Crisis Centre in 2023. The workshops Hannah took part in were exploring how women heal from trauma, and contributed towards a personal zine she made on her life in refuge. The workshops were led by artist and activist Jaskirt Dhaliwal-Boora for her new research project and films 'Healing From Trauma'. The workshops culminated in an exhibition at the refuge of photographs and text the women created from photo walks and workshops.
Jaskirt Dhaliwal-Boora (b.1985, Birmingham) is an award-winning multi-disciplinary artist whose work focuses on a socially engaged practice, working with local communities to empower and give voice to marginalised groups. She is interested in celebrating untold stories while exploring visual representations of gender, ethnicity and place.
Dhaliwal-Boora’s work has been exhibited nationally and internationally, including at Wembley Stadium, UN Headquarters New York, New Art Exchange Nottingham, Birmingham 2022 Commonwealth Games and Manchester’s People Museum. She has won numerous prizes, including the British Journal of Photography’s Portrait of Britain award in 2022 and 2023.
Jerome Harrington
jeromeharrington.net
My research aims to understand our rapidly changing relationship to the material world.
As an artist, I often de-centralise my own knowledge by working with found, pre-existing, archival material, and other people. I employ material and visual making processes as methods of critical looking, analysis, and interrogation.
I completed a practice-based PhD in 2016. The social and theoretical context for his research is the well- documented sense of estrangement from manufacture processes of the materials and objects that surround us. At the centre of this study ‘The Archive of Manufacture’, gathered together ‘points of visibility’, secondary sources where process is made visible, from industry, craft, and popular culture. The central focus of my research was the misunderstandings and mythologising of making process that can form through the misreading of this visual and material evidence, thereby describing a major effect of our distanced relationship with manufacture.
I currently teach at Bath Spa University on the Integrated Art and Design Foundation, and the Creative Arts Practice BA. I also teach on the Drawing Department at The Open College of the Arts (the OCA).
jeromeharrington.net
My research aims to understand our rapidly changing relationship to the material world.
As an artist, I often de-centralise my own knowledge by working with found, pre-existing, archival material, and other people. I employ material and visual making processes as methods of critical looking, analysis, and interrogation.
I completed a practice-based PhD in 2016. The social and theoretical context for his research is the well- documented sense of estrangement from manufacture processes of the materials and objects that surround us. At the centre of this study ‘The Archive of Manufacture’, gathered together ‘points of visibility’, secondary sources where process is made visible, from industry, craft, and popular culture. The central focus of my research was the misunderstandings and mythologising of making process that can form through the misreading of this visual and material evidence, thereby describing a major effect of our distanced relationship with manufacture.
I currently teach at Bath Spa University on the Integrated Art and Design Foundation, and the Creative Arts Practice BA. I also teach on the Drawing Department at The Open College of the Arts (the OCA).
Pamela Lawton
pamelalawton.com
@alstlawt_Pamela_Lawton
@DrawingAsSeeing
Pamela Lawton’s 2019-20 “Multi-sensory Drawing In Siena” project awarded her a U.S. Fulbright Scholar grant at the Siena Art Institute in Italy. Propelling her into tactile realms, she merged her own artwork approach with what she had developed with her low and no-vision students at the Metropolitan Museum of Art (the Met) , the Uffizi Galleries, the Benaki Museum (Athens) and the Palazzo Strozzi, Florence, Italy. She has created “Drawing As Seeing” in collaboration with the Siena Art Institute, a class for people with any level of sight. Solo exhibitions include the Galeria Nacional, Costa Rica, the Galeria Isabel Ignacio, Spain, and, in New York City (NYC), The Conde Nast Building, and 180 Maiden Lane. Group exhibits include the Metropolitan Museum Mezzanine print shop, Pierogi, Sideshow, and Tibor De Nagy galleries, all in NYC. Lawton was an artist-in-residence at the old World Trade Center through the Lower Manhattan Cultural Council.. While at New School University, she created a study-abroad class in Sri Lanka in response to the 2004 tsunami, introducing skill-based art lessons to process trauma. She teaches at the Met, Manhattanville College, the Renee & Chaim Gross Foundation, and “Drawing as Seeing” in collaboration with the Siena Art Institute.
pamelalawton.com
@alstlawt_Pamela_Lawton
@DrawingAsSeeing
Pamela Lawton’s 2019-20 “Multi-sensory Drawing In Siena” project awarded her a U.S. Fulbright Scholar grant at the Siena Art Institute in Italy. Propelling her into tactile realms, she merged her own artwork approach with what she had developed with her low and no-vision students at the Metropolitan Museum of Art (the Met) , the Uffizi Galleries, the Benaki Museum (Athens) and the Palazzo Strozzi, Florence, Italy. She has created “Drawing As Seeing” in collaboration with the Siena Art Institute, a class for people with any level of sight. Solo exhibitions include the Galeria Nacional, Costa Rica, the Galeria Isabel Ignacio, Spain, and, in New York City (NYC), The Conde Nast Building, and 180 Maiden Lane. Group exhibits include the Metropolitan Museum Mezzanine print shop, Pierogi, Sideshow, and Tibor De Nagy galleries, all in NYC. Lawton was an artist-in-residence at the old World Trade Center through the Lower Manhattan Cultural Council.. While at New School University, she created a study-abroad class in Sri Lanka in response to the 2004 tsunami, introducing skill-based art lessons to process trauma. She teaches at the Met, Manhattanville College, the Renee & Chaim Gross Foundation, and “Drawing as Seeing” in collaboration with the Siena Art Institute.
Annette Robinson
annetterobinson.co.uk
vimeo.com/manage/videos/252703544
@annettefrobinson
Annette is an artist and Lecturer whose teaching and arts practice have always had a focus on drawing. She has exhibited and taught both nationally and internationally, but in recent years her teaching focus has been on the BA Drawing course at Camberwell college of Art.
The phrase ‘false friends’ came up in a recent discussion with a colleague about her approach to drawing. They clarified that it was to do with the playful tension in the work, between the digital and material, between gesture/ action and surface; floor, clay, paper, screen: the improbable collaging together of it all. Objects, materials, actions, sounds, surfaces, are used and reused, the shifts often dictated by the site or occasion, much as a play is restaged and reinterpreted.
annetterobinson.co.uk
vimeo.com/manage/videos/252703544
@annettefrobinson
Annette is an artist and Lecturer whose teaching and arts practice have always had a focus on drawing. She has exhibited and taught both nationally and internationally, but in recent years her teaching focus has been on the BA Drawing course at Camberwell college of Art.
The phrase ‘false friends’ came up in a recent discussion with a colleague about her approach to drawing. They clarified that it was to do with the playful tension in the work, between the digital and material, between gesture/ action and surface; floor, clay, paper, screen: the improbable collaging together of it all. Objects, materials, actions, sounds, surfaces, are used and reused, the shifts often dictated by the site or occasion, much as a play is restaged and reinterpreted.
Lucy Algar
Smiljan Radic
Felix Topolski
Hugo Regan
Phil Wrigglesworth
Smiljan Radic
Felix Topolski
Hugo Regan
Phil Wrigglesworth